


The Sinful and the Virtuous

by erinsgirl



Category: The Musketeers (2014)
Genre: Character Study, F/M, themes
Language: English
Status: In-Progress
Published: 2019-01-27
Updated: 2019-10-13
Packaged: 2019-10-17 22:13:44
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 28
Words: 33,147
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17568896
Author URL: https://archiveofourown.org/users/erinsgirl/pseuds/erinsgirl
Summary: Character studies inspired by the Seven Deadly Sins and the Seven Heavenly Virtues. All sets: Cardiological/ Theological, 7 Deadly Sins - Antagonists, 7 Deadly Sins - Heroes and 7 Heavenly Virtues will be posted.





	1. Author's Note

**Author's Note:**

> I previously posted this to fanfiction.net (I've only recently opened an account here and decided to post here), so you may have already read this story there. I have no problem if you want to re-read it here. Some of the chapters got a mixed reaction, especially ones featuring favourite characters. I welcome other opinions and insights but please don't lynch me if I said something about your favourite character that you wish I hadn't. Both good and bad is here and the whole story is a work of love (albeit tough love in some spots).

Ok so I actually got this idea from a gifset based on the seven deadly sins in another fandom with a character representing each sin and I wondered who would you use of the musketeers' antagonists and which of our heroes' would be the corresponding virtue. Turns out there's two sets of 'seven' virtues. The seven heavenly virtues which act as counterparts to the traditional seven deadly sins and the theological/ cardinal virtues which are groups of three and four virtues usually grouped together and when I stopped and thought about it, the characters actually really are them in a way.  
And then I realised that actually our heroes also have a tendency to indulge in the sins too. So, what started as seven chapters, became fourteen, then twenty-one, and finally twenty-eight.  
Some of the characters were easier than others. Aramis swanned in, called his chapters and then just smiled charmingly when I asked him to consider handing over some of them to the others.

Treville was uncharacteristically unhelpful.

Queen Anne and Porthos kept mixing theirs up and D'Artagnan couldn't understand while Constance and Athos kept playing musical chairs with each other.

And then some of the sins/ virtues were hard to narrow down. There's a lot of wrath, envy, greed and lust in this world but not a lot of chastity! So, some of these I got very creative with.

The chapters are in groups of seven with each hero/ antagonist representing one of the seven in each group.

The groups are:  
Theological/ Cardinal Virtues  
Love/ Charity  
Hope  
Faith  
Courage (Fortitude)  
Justice  
Temperance  
Prudence

Seven Deadly Sins  
Envy  
Gluttony  
Greed  
Lust  
Pride  
Sloth  
Wrath

Seven Heavenly Virtues  
Charity  
Chastity  
Diligence  
Humility  
Kindness  
Patience  
Temperance

All the chapters have been written but I'm not guaranteeing when they'll all be posted. (Should be soon enough though).


	2. Love: Athos

**Notes for the Chapter:**

> Ok so here's the first of our character studies. The first seven are the theological/ cardinal virtues and how the characters signify them. I'm cheating slightly here. The virtue is usually referred to as Charity but it does mean it in a 'love thy neighbour' way and love is included in the synonyms so I'm using it. The first four chapters the show more or less assigned themselves I'm just tweaking to make them fit better since I'm a slave to canon.
> 
> Also I'm still new to posting here, so apologies for any formatting issues.

* * *

 

**Love (Charity)** is concern for, and active helping of, others.

"We all have our deep secrets and hidden emotions". – Athos, A Rebellious Woman 

* * *

Athos is Love. Love for his country. Love for his captain. Love for his family. Love for his friends.

When we first meet Athos, he is closed and guarded. He is careful with his heart. He knows the high cost of love. After all he loved a woman who betrayed him. He loved a brother who died because of his choice of spouse. Athos has been burnt by love and he knows that it is **others** that pay the price.

It is this that makes him pull away from Sylvie for fear of her suffering for his love. She has become too close to being entangled in Grimaud's schemes and he fears she will become the target of Milady.

And yet try as he might Athos cannot keep his heart empty. There are those who slip past the high, thick walls and plant themselves firmly in his heart. People he calls lovers, friends, majesty, captain, sister, brother. He may not say it, but it is there and it is known by all.

It is often in the small, subtle and discreet acts when love is shown in its truest and purest form and it is in these acts that Athos shows his love.

He actively spends time training D'Artagnan and trying to instil 'head over heart'. Not because the heart is not important. It is D'Artagnan's heart that powers him as Athos knows, but because the head must drive the action that the heart fuels. If the head does not guide the heart sensibly than foolishness follows. It is a lesson that Athos knows must be learnt, and it is through love from Athos that D'Artagnan learns it.

It is love for his brothers that causes Athos to protect and defend them no matter what. He keeps quiet about Aramis' treason with the queen, to protect Aramis until it is no longer possible to do so. He follows D'Artagnan when he knows the youth plans to engage Vadim and LaBarge. He enters the Court of Miracles in an attempt to see Porthos and confirm his well-being.

Love is why Athos actively works to ensure his brothers see justice for when they have been wronged, even at the cost of his own commission. He rails at Treville for denying D'Artagnan the chance to earn his commission from the king in the challenge with the Red Guards. He deals with the Spanish to avert Bonaire's escape from punishment for Porthos. And while he does not believe the allegations he does not stop Aramis' investigation into the massacre at Savoy and promises to help find the truth.

It is fraternal affection that pushes him to ensure his friends' happiness and goals. He proposes Porthos for promotion to General because there is nothing else so right. He convinces Aramis to accept the post of First Minister to be closer to his son and love. He predicts D'Artagnan the 'greatest of us all' and never stops believing it and fighting for the lad to achieve it.

It is not only brotherly love he feels, it is platonic love as well. He begs for Comtesse de Larroque's life. He warns Rochefort against harming the queen when they cannot be physically present and prompts her to appoint Aramis as minister. He gives Constance away at her wedding. Actions of a man in the name of those he cares for.

Eros love drives him to leave his post and abandon his friends to their duty and storge love coerces him to join Treville instead. It is friendship that motivates his counsel to Treville in playing the game of politics and regaining his role in court.

It is love that fuels his fury during his duel with Savoy. Love for the brothers that the Duke had killed and love for the brother that survived permanently wounded. The suffering of his loved ones feeds his desire to see the duke suffer.

It is love that pushes him to search for his buried brothers when all seems lost, to refuse to give them up for dead when all else had. It is that steadfast love that ensure his brothers are found in time.

It is love that causes him to disobey the king's orders and rescue Sylvie from the lash. And it is that same love for Sylvie and their unborn child that eventually results in him leaving the Musketeers.

It is his bad experiences with love that make him wary, but it is also that love that eventually lets him forgive. He is torn between his love for his brother, his love for his wife and his part in their deaths. The revelation of their crimes and the realisation that he still loves both in spite of those crimes are what haunt him. And ultimately it is this love and that for himself and his new loved ones that allows him forgive them and let Milady go rather than condemn her to death.

Athos is the character most recognising of the different love people hold for each other even as he hides from it himself.

He reminds Aramis of Treville's role in their lives as a reminder that one can still be a father whether one is called father or not. And it is this knowledge that allows him to understand that the bond between the brothers-in-arms and their loved ones is what makes the Musketeers the garrison, not the blackened, destroyed physical building.

He leaves a message in the Court for Porthos declaring that they are his friends and still believe. And he stands by Porthos both at his trial and at the disappointing revelations of the latter's family.

It is understanding love that lets him, both agree to Aramis' resignation and welcome him back with open arms. Athos may not feel the breadth of love Aramis has for God and his people but he knows the depth of that love.

And it is Athos who recognises D'Artagnan's capacity for love as both musketeer and man that encourages him from cadet to commission to captain.

He cares for Porthos and Aramis as brothers when D'Artagnan meets them and they for him because Athos is Love. It is that love that causes them to nearly be arrested along with Athos when they move to defend him from arrest by the Red Guard. It is that love that drives them to clear his name in time and convince D'Artagnan that he may be innocent. Because they love Athos as he loves them.

Aramis encourages him to open his heart to love again with Ninon and Sylvie. He watches over Athos when he is poisoned by Ava and desperately wishes for him to find peace of mind from his demons. Athos would do the same for him.

Porthos immediately assumes that it is Athos who has rescued him from the noose because he knows Athos loves him. And it is with the same fondness that Porthos will make sure Athos makes it safely home from a night of drowning his sorrows even if Porthos has to carry him home himself. Love that brings tears at the thought of Athos' death even if it is faked.

D'Artagnan keeps his secrets of shame and torment in Pinon (both times) and it is D'Artagnan who insists on the good in Athos even when the older man does not believe in it himself.

It is that love between those adopted brothers that convinces Milady and Richelieu to believe D'Artagnan's story that a trade is possible. And it is that same bond that ensures her attempts to turn him fail.

It is love that is the catalyst that sets him on the path to becoming a Musketeer.

It is love that helps ensure he remains a Musketeer.

And it is love that incites him to leave the Musketeers.

Because Athos is Love above all else.


	3. Hope: D'Artagnan

**Notes for the Chapter:**

> I cheated slightly with this one too - passion isn't a virtue (at least not a direct tie, with Love was) but I think the sentiment works. Enjoy.
> 
> Thanks to everyone who left kudos.

* * *

  **Hope** is taking a positive future view, that good will prevail.

"We can do anything if we dare, Constance". – D'Artagnan, _Through a Glass Darkly_

* * *

D'Artagnan represents Hope. For if the young can't be hopeful what chance have the old.

And that is what D'Artagnan is, the idealistic, hopeful optimism of youth. We first meet D'Artagnan with his father, filled with hope that they will succeed in their task of petitioning the king on taxes and return to their farm with good news and hope for the people.

And when his dreams are dashed, and his father killed, D'Artagnan still keeps hope. A grieving hope of vengeance and justice but hope nonetheless. It is with this hope that he meets Athos and it is this hope that enables Aramis and Porthos to recruit him. Something so small but so crucial to all to survive. For what good is living if there is nothing to hope for.

And D'Artagnan is Hope for so many.

He is the hope of catching Vadim and finding the gunpowder, of saving the king and queen and people from the vengeance of a greedy thief.

Hope to stop Milady and Richelieu.

Hope to the De Foixs' of escape and freedom.

Hope for Pepin that his wife and daughter will know the truth of his disappearance.

Hope to Hubert of a better future.

Hope for Borrell for safety and peace.

Hope for his cousin for a fresh start and a new life.

Hope for a dying woman that her husband's memory of her will not be shattered because of one fatal choice.

Hope of a new garrison and a fresh start. Hope for a new era to match a checkered but honoured past.

He is hope for the cadets, a goal, a measure, a guide. Proof of a possibility.

He represents hope for Athos of second chances to fix the mistakes of the past. The hope of gaining a little brother instead of losing one. A hope of having and saving a loved one. The hope of having someone else to fight for.

He is hope for Milady of reliving a past life with a lost love, of starting anew.

He gives hope to Porthos of a future with a family. It is D'Artagnan's certainty of their hopes, that they will be fathers, that they will live long happily-married lives that keeps them going when they are out-numbered and out-gunned and left for dead under a collapsed building. And it is this intense hope and refusal to give into defeat and despair that rally Porthos and D'Artagnan and gives Athos hope that they are still alive when he finds them buried.

He brings hope to Aramis that a life with love and happiness is possible if only for a lucky few. Because even if he cannot be with the woman he loves and the child he cherishes, Aramis can at least rest easy in the knowledge that hope is not lost for his brothers and sister.

He provides hope to Treville for the future of the regiment and hope that the principles and ideals that make a musketeer will be remembered and cultivated in the future men that wear the pauldron.

And he represents hope for Constance. Hope of a life with freedom and adventure. Hope of a marriage with love and respect in equal turn. Hope of a world built by women as well as men.

He even gifts Queen Anne with hope of a true friend in the palace when he recommends Constance to the role of messenger and confidante. A hope that is rewarded more richly than anyone foresaw.

Hope is what keeps D'Artagnan optimistic even when the odds are against him.

When he is separated from his friends in a Spanish jail it is hope that keeps him positive that his friends still live and will come to help.

He hopes for a commission from the king, hopes to serve alongside his new-found brothers and friends. When he asks to compete in the challenge against the red guards he is quietly certain, hopeful, determined to prove himself. He thinks of glory and respect and skills of sword and shot and strength. He dreams of serving king and queen and country, hopes to protect and defend those that can't do so themselves. D'Artagnan hopes to be a good soldier.

And he has hopes of love and life as husband and father. As a man of honour and of family. D'Artagnan continues to hope as much as he gives hope.

But as much as D'Artagnan shows the joy of hope he also shows the danger and desperation of despair when that hope is lost.

His father's death makes him reckless. Alone in the world he runs from mobs, ignores his injuries and challenges three experienced soldiers of the king's own elite regiment.

The loss of his family farm, the last connection to his past if meaningless to his future, turns him foolhardy and wild. He duels LaBarge when he is out of his depth, he makes demands of both captain and cardinal and takes umbrage with his brothers. Heart over head.

When he believes Constance's rebuke of him he is cynical and cold. A hardened soldier overnight with no hopes or dreams beyond his skill with a sword and his use with a pistol. His only hope is to serve his king honourably and die bravely for his friends.

The indifference of the court to the destruction of the war and the devastation of Paris and the deaths and desolation of so many makes him furious and bitter. He questions everything he's known, despairs for himself and others and the future. He wonders what he fought for, wonders why he fights if this is the reward.

But Hope is strong. And no matter how hard the fall he rises once more. He hopes once more. He hopes for peace of mind and happiness for Athos. He hopes for Porthos' safety and family. He hopes for Aramis to receive his greatest wish.

He hopes to be one-day reunited with his absent brothers.

He hopes for a better future with the reign of the new queen regent and the young king.

And he hopes in Constance. He places hope in her strength and her skill when she is in danger. He hopes for her survival when she is caught in the garrison explosion. He hopes for a future with her by his side as he takes on the role of Captain and becomes the hope for the new garrison, its cadets and its future.

D'Artagnan's hope remains throughout the time we know him. His goals change, his ambition shifts but he keeps hope.

Because D'Artagnan represents Hope. Hope's highs and lows. Hope's risks and rewards. The burning passionate hopes of the young and the quieter simmering hopes of the mature.

He begins with hopes, only to seem them dashed, and then to change and finally his hopes materialise.

He is the hope of a young cadet to a commissioned musketeer, of an experienced soldier to a respected captain.

The hope of a suitor, a lover, a husband and a father.

The hope of a son, a brother, a soldier and a friend.

Hope with great passion, for hearts that stay true to all they hold dear.

**Notes for the Chapter:**

> Agree? Disagree? Random thought in general?


	4. Faith: Aramis

**Notes for the Chapter:**

> This was probably the most easy to decide chapter (not necessarily to write), although there were a couple of close runner-ups. As always thank you to all my readers. And now here is Faith.

* * *

**Faith:** something that is believed especially with strong conviction.

"With faith anything is possible." – Aramis, _Emilie_

* * *

Aramis embodies Faith.

Faith in God.

Faith in France.

Faith in his friends.

Faith in life.

It is Aramis' faith that gives his body purpose, his mind truth, his heart strength and his soul salvation. Aramis' faith carries him and guides him in good times and bad.

And Aramis tries to do what God wants. He knows he is a sinner. He knows he has lost the path of God. And so, he repents, and he prays, and he tries again. And falls again. And prays again. But throughout it all he never loses his faith in God and in the world.

He prays for his son. He prays for his lovers. He prays for the queen and he prays for the king. He prays for his friends and his late brothers. He prays for himself. He prays for the Comtesse de Laroqque and Maria Bonaire. He prays for French civilians and Spanish soldiers. He even prays for the Cardinal because that is what God would want.

It is in trying to follow God's wishes that Aramis is torn between the duty of a soldier and the calling of a monk. He made a promise and fully believes he must honour it because it was a promise to God. And God spared him when Aramis wasn't worthy.

And yet it does nothing. He becomes more troubled and restless and it is inescapable even to others. By following his oath to God, he has moved further away from his Lord. It is only in reuniting with his former life that Aramis feels himself on God's path once more. Because God made him a musketeer.

Aramis is a musketeer because he believes that is what God wants for him. He kills men's bodies willingly, but he prays for life for their immortal souls.

And it is not just with his path in life that Aramis associates with God. It is easy to have faith when times are good, and it easy to dismiss and blame God when times are bad. But when Aramis' faith is tested it does not falter.

When the queen and his son are in danger it is to God that Aramis prays. He is alone, imprisoned, trapped. There is no one with whom he can speak. There is no one else to ask for help. He has nothing left. Nothing but faith in the Lord. And it is to God that Aramis prays and begs and entrusts the fates of those he holds most dear. Because God is his Saviour. And his Saviour has never abandoned anyone in a time of need.

Aramis' faith is what saves him. From despair, from needless death and from destruction. It is God that helps save Aramis from himself. He believes that God has a plan, that people sin but God forgives.

Aramis has true faith. And that is why he has no reverence for the falsely pious. Those who claim benediction but manipulate it for their own agendas like the Cardinal or Rochefort who pick and choose what to venerate and what to condemn because it is convenient. It's why he has no guilt threatening a man of the cloth. It's why he'll condemn his own soul to save others. Because Aramis knows he may not be worthy of God's absolution, but he knows God will save those who are and with faith perhaps God will save unworthy sinners like him too. God will not abandon those that need Him.

And while he may not share your faith or beliefs, he honours them. Because we all search for truth in different ways.

It is why he can appreciate and respect others who hold beliefs even when they are different to his own. He has no issue with the Muslim Alamans beyond the cost of Tariq's actions. He challenges a Huguenot but still leaves an offering at his church because it is a place of God and worship even if it is not quite his kind of worship.

He does not question Emilie's faith in God only the source of her visions and the violent direction they lead. And when her faith is broken he is devastated for her and his part in it because he understands her pain. Emilie now believes she is alone for the hardest time of her life and Aramis is heartbroken for her because you are never alone when you have God.

But it is not just faith in God that embodies Aramis. It is faith in others too.

He has faith that Porthos and Athos are innocent when they are falsely accused. He has faith that they are good, honourable men above all else and justice will prevail.

He has faith in the relationship of D'Artagnan and Constance, and that their love will prove true.

He has faith in Anne as both woman and queen. Faith in her courage and kindness and endurance for the challenges to come.

It is his faith in Marsac that convinces him to help his lost friend. Faith that they may be able to help their brothers rest in peace.

It is his faith in Treville's character that allows Aramis to forgive the captain's part in such grievous harm and it is that faith which helps him reconcile the past and present.

And it is his faith in the good in people and the world that allows Aramis to survive the world and people to survive with him.

It is faith that sustains him. No matter the cost. And it is not just Aramis that Aramis' faith inspires. He inspires it in others too.

He gives Ninon faith that God will not abandon her when she is tried for witchcraft. Faith that helps her survive through her trial and the betrayals it brings. Faith that comforts her in the moments when nothing else can.

He proves to Anne her faith. She and her son are not alone. They are watched over, by God and their musketeers. Faith that gives her strength to meet her enemies' challenges.

He provides Treville with faith in second chances and amends.

He prompts faith in D'Artagnan and Constance in a future that does not seem possible.

He reminds Athos to have faith in people's intentions however poor their actions.

Aramis does not inspire faith in God to Porthos. He inspires faith in Aramis. Faith in a friend who will always be at his side. Faith in a friend who will fight for his life, his name and his freedom. A friend who'll be there for a physical fight or a personal one. A friend who'll survive a six-storey drop because Porthos has faith in Aramis and Aramis will always have his back.

It is Aramis' faith that gives his friends brightness in times of despair because Aramis' faith embodies Aramis.

Be it monk, musketeer or minister, Aramis is a man of faith. Faith that daylight will always follow the dark.

* * *

 

**Notes for the Chapter:**

> Next chapter is Courage.


	5. Courage: Porthos

**Notes for the Chapter:**

> Thanks to everyone reviewing, subscribing, reading or who left kudos. It means a lot.

* * *

**Courage:** also termed fortitude, forbearance, strength, endurance, and the ability to confront fear, uncertainty, and intimidation.

"My men. My friends. However bad it gets you keep going. For them. For Juliet. For your people. For your baby. You don't give up. Fear has no power over you." – Porthos (to Elodie), _Fool's Gold_

* * *

Porthos personifies Courage.

After all it takes courage to watch your mother die and face the world as an orphan at the tender age of five. It takes courage to grow up in the Court of Miracles and remain a good man. It takes courage to leave the only life you've ever known and start anew.

But that is what Porthos does, because Porthos has courage.

He leaves the only home he remembers – no matter how bad – and the only companions who cared about him, when he left Flea and Charon, but he does it.

He joins the infantry. He faces the adversity head-on and keeps preserving. He makes a name for himself and earns the chance to become a musketeer.

And Porthos bravely accepts the chance. He ignores the jeers and the stares about his colour. He battles the ignorance of the noble court and the wary common folk. He learns to read and write. He learns to shoot and to parry and ride. His bravery and fortitude earn his commission to the king's own guard. Men famed for their courage and honour and strength. And Porthos earns the right and respect to stand beside them.

Time and again he proves his valour. He risks his life to trap Vargas to save the queen and France, acting alone as bait to coerce the Spaniard into a trap. He doesn't hesitate to volunteer.

He faces assassins head-on rather than run and ensures four less men for Athos and Aramis to face as they protect the queen. He allows Rochefort to dislocate his shoulder to facilitate an escape from Marmion's cell and then jumps right back to battle recent injury be damned. He'll confront thieves of grain on his own. He'll follow his Captain and Minister into enemy territory and hostile talks without a second thought.

But having courage as a soldier is easy, having courage as a person is far harder yet Porthos shows the strength of his courage again and again.

He faces racism on a daily basis from strangers, from adversaries, from family. His half-sister calls him a savage while his brother-in-law spits in his face. Porthos doesn't accept it but he braves it. A judge refers to him as a dog and Porthos valiantly takes it. He battles on.

The fears of his people takes the form of Bonaire and Porthos has the courage to face those fears, to know that men like Bonaire exist. That crimes against innocents like his mother will still occur. That slavers and traders and rich men with power will almost always escape justice. But still Porthos forbears and he finds the strength and courage to go on. Strength to accept the cruelties of the world and courage to do what little good he can, when he can.

He still dares to trust. He has the courage to trust people in a world that has not always proven trustworthy. He has the courage to trust Queen Anne's regency and her support of the French war effort when he accepts his promotion of General.

He dares to trust D'Artagnan's aid in saving Athos despite the younger man's attempt to kill. He trusts his baby brother's faith that he'll have a family.

He's bold enough to have confidence in Constance's ability to take care of herself when they cannot help her.

He fearlessly trusts Aramis to always have his back and willingly places his life repeatedly in the medic's hands. He's brave enough to believe his friend still lives even when he's seen evidence otherwise.

He has the courage to believe that Athos will rescue him when he's sentenced to hang.

But it is not just courage to trust that Porthos possesses, it is the courage to re-trust, the daring to forgive and the bravery to cut ties if needed.

He forgives Aramis for walking away when the latter re-joins the Musketeers and bravely trusts him not to abandon him again.

He trusts D'Artagnan's character and loyalty even after he has learned of the youth's affair with Milady.

He still relies on Athos even after the man temporarily prioritised his personal demons over Porthos' own life.

But while trusting his brothers takes courage it does not show Porthos' true mettle, that comes when he faces his past.

He knows it cannot be a happy story, that it may not be the story that he wants but Porthos is brave enough to hear it. He has the resolve to continue on. And when he finds answers to his questions he doesn't run and hide. He keeps searching and seeking.

He confronts Treville, the man who has in part given Porthos his life as a Musketeer and can take it away just as easily. But Porthos still has the pluck to challenge him, Porthos is still brave enough to demand a truth when he knows he will not like it.

And then he shows greater bravery in forgiving the man and trusting him once more. And that is bravery because Porthos had the strength to choose the father he actually had over the father in name, the resilience to accept who his father really was and not let it mar his character and the courage to let go of his dream and be something else.

It is that same courage and fortitude that he shows when he faces his past in the Court of Miracles. He doesn't apologise for leaving or wanting a better life. He chooses to stay to fight his innocence than take the offer to disappear. He regrets that they've chosen different paths, but he doesn't regret his choices. Porthos has the courage to believe in himself.

And then he's brave enough to ask his friends if they do too.

Porthos personifies Courage.

But courageousness is not the same as fearlessness. Courage is not acting without fear but knowing fear and acting in spite of it. And Porthos has the courage to admit his fear to Elodie when he confides in her about his desertion.

That moment of cowardice does not make Porthos a coward, oh no. It makes him brave. Brave enough to turn around and go back to face his fears. Brave enough to confess his mistake. Brave enough to find courage once more.

And it is this courage that gives Elodie courage to bring a child into this world.

War.

Racism.

Judgement.

Betrayal.

Disappointment.

It does not matter what form the fears and dangers take.

Porthos personifies Courage no matter how many enemies lie in wait.

**Notes for the Chapter:**

> Justice is the next virtue if anyone wants to take a guess at who was assigned that.


	6. Justice: Anne

**Notes for the Chapter:**

> Thanks so much again to my lovely readers and reviewers, and apologies for being late with posting. Life got in the way.
> 
> For anyone who likes Milady, Louis or the Cardinal they will feature too, you just have to keep reading;) Now for the fifth of this set - Justice. There were a few contenders going for the role but one in particular made the most convincing case.

 

* * *

 **Justice** is being fair and equitable with others.

"It is only because I believe you are sincere in your devotion to the country that I have decided to spare your life. France needs you and the king loves you. Your treachery would break his heart. If you ever fail in your duty again I will not be so lenient." – Queen Anne (to Cardinal Richelieu), _Musketeers Don't Die Easily_

* * *

Queen Anne symbolizes Justice. It may be the King's law, but Justice is a lady and what better lady than a queen.

Anne's introduction is as the voice of justice. She quietly corrects Louis' assertion about hunting making a man feel more alive not applying to the birds. More notably she openly supports Treville and the Musketeers against what she suspects are false allegations rather than unjustly condemn them on rumours.

She actively plays the part of Justice as the show continues. She pardons prisoners for stealing and debts. After all there is a difference between justice and the law. Something which she debates with captain and cardinal. She will not doom desperate men for justifiable actions even if they are illegal.

For justice she agrees to the act of using the king and herself as bait to stop Vadim and prevent the horrors he plans. And it is in justice that she encourages the use of herself and the king than to leave the matter to doubles.

She intercedes at Ninon's trial because while the law may be blind, justice is not. And justice sees the truth of the trial. It may be the 'king's wish' that the comtesse be spared the death sentence but it is the queen who delivers the reprieve.

She sways judgement in the fate of the Mellendorfs because they are blameless despite being blamed. When king and council refuse to act against the Spanish hatred that arises, she takes it upon herself to get justice for her countrymen. And when Emilie is later accused of murder, Queen Anne defends her regardless of the woman's actions towards her. Because she knows Emilie is innocent and true justice does not condemn the innocent no matter how convenient.

It is not just in legal matters that Anne extols justice. She makes sure to give just praise too. When she is taken hostage and threatened, she credits the musketeers' actions to defend her, rather than unjustly criticise them. In fact, she repeatedly acclaims them and acknowledges their and Treville's skills and service. To the king, to the court and to the people. For they are just men and it is only just that they be recognised as so.

And she is justice for Constance who she appoints as a confidant and deservedly seeks and undertakes for counsel. She is justice in freedom from home, in acts of respect, esteem and praise. Justice in the form of respect and appreciation of Constance and her own qualities and gifts, rather than the men who claim credit for them.

She is justice for the people though they do not know it. She is the only member of court to truly speak for them, to advocate for them and to prioritize their needs because it is just for the Crown to act for them.

She performs justice in the small act of referring to Treville as captain even after his removal and in large ones like formally appointing the musketeers as the Peoples Musketeers because they are the people's champions as much as they are the queen's. And it is right and just and fair to reflect it.

She is even just to Louis, supporting him and his good qualities in spite of his treatment of her.

When Ferron falls at her son's party, it is Anne not Louis who defends him despite their conflicts. Louis only considers the optics and embarrassment caused. Anne focuses on the reality of the matter. She will rightly judge Ferron for his choice to betray but not unfairly for the illness he was born with.

It is Queen Anne who decides Cardinal Richelieu's fate when his plot to assassinate her is discovered. The victim receives justice against the perpetrator. The cardinal must plead forgiveness from the Holy Queen, Mother of Mercy.

And it is Queen Anne who judges and sentences Rochefort and Gaston for their hypocrisy and betrayals because while justice may be right and fair it is not always forgiving.

After all the Sovereign is judge and jury.

But if Anne symbolises justice, she also symbolises injustice. She is unfairly hated by her people for being Spanish when she is often the one who cares for them most. Insulted, threatened, taken prisoner, verbally abused and spat at for something she had no control over. She is believed to act against them when she is the only one who thinks of them.

She is dismissed for being a woman in a sexist court.

She is smeared and disparaged to suit the prejudices and agendas of others.

Richelieu attempts to have her unduly assassinated for the crime of being infertile, when Anne is not the one responsible for the lack of heir.

When Rochefort assaults her, it is Anne the innocent victim, not Rochefort the guilty offender, who is arrested and put on trial, questioned and judged.

Injustice at its height and a sign of what is all too common. For Rochefort accuses her of what he himself is actually culpable of. Adultery, treason and attempted regicide. And it is only because of Constance and the musketeers, the Queen's Justice, that this act of injustice is not irrevocably so.

But it is in Louis' treatment of her that the greatest injustice is seen. He dismisses and demeans her for being both a woman and a wife he did not want. He holds Anne accountable for their arranged marriage and his inability to choose for himself despite Anne having even less say in the arrangement.

He considers Anne responsible for the lack of children though rarely encourages anything between them to rectify this.

He blames her for her son's illness because she is Spanish, so it must be her fault.

He is enraged when she reaches out to her brother to arrange peace even though he will not act to obtain it himself.

He sides with Rochefort's allegations without allowing her the chance to defend herself, even when he questions the validity of the charges himself.

He inadvertently condemns her to death twice because he is too weak and too indolent to act in a manner he knows is right.

And he accuses her of cold-heartedly betraying him through wrong but understandable actions. He holds her accountable for falling in love in private when he carried on an affair in public. He is furious with her for having a child with another man despite being furious with her for not having one and wanting to wed another woman to do so.

He impugns her loyalty in private when he has rarely shown it to her in public.

He undermines her relationships at court, with the people and her son for his own petty and selfish reasons.

He cruelly berates and slanders her when she is the victim of malicious propaganda because his ego is bruised, and his feelings hurt. And he appoints Treville as regent not because of wisdom or politics but as punishment.

The king may be the Law, but he is not always Justice.

And Anne knows the importance of justice. For a monarch must understand the importance of the law and the importance of being just and fair. To know when to act as the law and when to act as justice.

Constance has high hopes when Anne is made regent that everything will change. Justice will be done for justice. That is what the queen symbolises for Constance.

And it is justice that Anne symbolises for the Musketeers, for they are the people's champions and they are the Queen's Justice.

* * *

 

**Notes for the Chapter:**

> I was trying to show the difference between Law and Justice especially between the two royals. Not sure how well that worked.
> 
> Tune in next chapter to see who has the role of Temperance. 
> 
> FYI for those who are particularly fond of the Inseperables they will all make several reappearances. As per my author's note I have sins and virtues left.


	7. Temperance: Treville

**Notes for the Chapter:**

> Apologies for the very long time in updates. Life is crazy at the moment. Many thanks again to everyone reading, reviewing, following and favouriting. 
> 
> Treville fans this is probably the best chapter for our esteemed captain. Of all the characters he was the hardest to write and I think this chapter does him the most justice. Enjoy.

* * *

 

**Temperance,** is that moral virtue which moderates, in accordance with reason, the desires and pleasures of the sensuous appetite. Related to temperance are the virtues of continence, humility, and meekness.

"I can't protect you from the cardinal if you keep fighting his men." – Treville, _Friends and Enemies_

* * *

 

Treville stands for Temperance.

Confident in his abilities but not arrogant.

Modest pride in his successes rather than vainglorious.

Moderate in his emotions rather than indulgent.

Abstaining from toxic influence in his own life so as to best serve his country.

Discrete in his service instead of dramatically drawing attention.

Cautious judgement before quick decisions.

An important quality for a man destined to be more than a gifted soldier, for a man to become a captain of the king's own guard and trusted royal confidant.

It suits his roles. The controlled captain of disciplined soldiers. The rational and sensible father figure. He encourages constraint, self-command, forbearance and reasonableness in his younger, rasher, more impulsive companions.

He is the calm, steady advisor to the mercurial rapacious king. How often does he sway Louis to a more equitable choice? How often does he press for a more measured outcome?

He is the sober voice to an excessive man. The temperate yin to the gluttonous yang. Louis knows it, it's why he values Treville so much. Treville is not just the competent captain of his guard or the rational minister of his counsel or even a fond parental type. Treville is what Louis isn't, just as Louis is what Treville isn't.

When Louis rushes to have his own war veterans slaughtered for defying him, Treville argues against such action. He cajoles for leniency and the chance to negotiate with them.

Treville encourages Louis to forgive Queen Anne's perceived betrayals. They were not done in malice after all and it is a peaceful, preferable and necessary solution. Trustworthy allies, not forced enemies are what is needed, and she was not alone in her infidelity.

When Marie de Medici returns, Treville requests himself and Cardinal Richelieu to act on his behalf, so as to lessen the manipulation and distress that Louis faces. Calm, unemotional counterparts to the emotional and distressed king.

And it is not just to King Louis Treville encourages temperance in mind and action. He cautions Queen Anne in being too merciful and kind to those who would use it against her. An important lesson for a monarch. One must show justice but never weakness.

He reminds the people of Pinon to think first and to appreciate their circumstances and options in full. They have the option to sue for peace if they think they can and to consider if what they are fighting for is worth dying for. And when their decision is made he teaches them how to fight, how to withstand attack and siege. How best to make their stand. It is through Treville's prudence, temperance and equanimity that the people of Pinon are successful.

He is temperance to his men, urging them to clear Athos' name instead of uselessly getting themselves imprisoned alongside them. A fight would do no good in this case.

When he is demoted from his captaincy he swallows his despair and accepts the loss with self-restraint and sober dignity. He considers leaving to spare the new captain the discomfort of his presence. An act of abnegation.

While Athos pushes for D'Artagnan's advancement, Treville is more cautious, acknowledging the youth's skill but also his inexperience and quick-temper.

He supports Porthos' progression, urges Athos to use judgement as a captain not a soldier, and warns Aramis to think more carefully.

It is Treville's temperance that convinces him to listen to Milady's warnings of Marmion above Athos' emotional refusals.

Treville stands for temperance in all it's quiet assurance. He controls his emotions, restrains from rash and needlessly quick decisions. He sees the bigger picture and thinks for the greater good than his own gratification.

It is Treville's temperance that allow him to collaborate with those he dislikes when necessary such as Richelieu. It is temperance that enables him to negotiate and interact with those he despises such as Gaston and Lorraine. And it is temperance that earns the respect of the Royal Council.

Perhaps Treville never more clearly stands for temperance, than when he cannot champion temperance.

Without Treville's presence and influence the atmosphere becomes poisonous, excessive and unruly. The danger increases. Louis forfeits any moderation or restraint of his neuroses and Rochefort takes control. Louis is much more vicious and aimless without captain or cardinal to nurture his more reserved qualities and people pay with their lives because of it.

Louis' self-control becomes weaker and he is easily distracted by Ferron and his son, indulging in excess and whimsy brought about by his impending death and his kingdom falls further into war and despair for it.

Even the comparably level-headed Queen Anne falls to her more reckless, emotional instincts without Treville's temperance to counsel her. She engages in secret negotiations with Spain and sneaks into the camp of Emilie of Dumas to attempt peace talks.

But it is when Treville himself suffers from intemperance, that things become most dire. For without Treville's moderating caution, the Musketeers fall to the excesses of their characters and the extremes of their flaws.

Treville's inability to be equitable and dispassionate to his friend Belgarde causes one of his greatest regrets. The unrestraint guilt and disgust in his involvement of the abandonment of Porthos and his mother makes him too guarded with what he tells Porthos and Porthos makes the decision to quit on limited information and manipulation.

The remorse and revulsion of Savoy makes him too emotional to face the impact of his soldiers' investigations. He cannot be calm and controlled in the wake of the questioning and it only leads to raising suspicions and driving Aramis further towards answers for his doubt.

It is his inability to momentarily practice temperance that results in the challenge with the Red Guards and the consequence that a musketeer must face the violent and dangerous LeBarge. D'Artagnan is embittered by further disappointment and Treville nearly dies.

He is unable to be composed and rational when he learns of King Louis' fate and his unbalanced mind does not think of the need to prepare those that will inevitably be most impacted by the outcome. The temporary intemperance allows their enemies to gain the potential upper hand and Athos calls him out for his hypocrisy.

Treville stands for temperance. The restraining hand, the moderating guide. A mark of when to wait and when to fight. The temperance that keeps France standing when the unbalanced, excessive and extreme would see her fall.

**Notes for the Chapter:**

> Next chapter is the final one in this first set. Prudence.


	8. Prudence: Constance

**Notes for the Chapter:**

> This is the last chapter in the Theological/ Cardinal set. Thanks so much for everyone who has come this far. It means a lot.

* * *

**Prudence:** also described as wisdom, the ability to judge between actions with regard to appropriate actions at a given time.

"If only men would think instead of fight, there might be more good ones left." – Constance, _Friends and Enemies_

* * *

Constance acts as Prudence. The voice of reason, not that it's always heard.

She regularly acts as counsellor and adviser encouraging care and caution with words and action.

When she meets an injured D'Artagnan she queries about his health, noting his pale complexion. The discovery of his condition and his story prompts her to caution him. Her acquaintance with Athos allows her to realise there is more than meets the eye. It is her upbringing with brothers that encourages her to follow D'Artagnan and interrupt his duel with the Inseparables.

However safe the musketeers intend to be it is Constance who still points out the irresponsibleness of their actions. Indeed, it becomes something of a theme, Constance lamenting the recklessness of the soldiers' plans.

She is furious when she learns of Marsac's identity and discovers the ploy against Vadim. She rails at the danger of the actions and is livid at the situation both put her in.

It is Constance who points out that it is not only Rochefort they need to defeat but his lies as well, and Constance who tries to remind Marmion of his family's wishes when he has them taken hostage.

It is Constance who first warns D'Artagnan about Milady and Constance who holds her concerns against the woman longest, unwilling to dismiss the woman's ambition as stretching only to Maitresse-en-titre.

Constance's prudence is noted by those around her. They observe it, they respect it, they seek it.

It is Constance's sense and practicality that makes Treville appoint her as head of the garrison in the musketeers' stead. He knows that she will be a wise guide and a steady hand for the young and naïve cadets. And it is indeed Constance's prudence in keeping the cadets from trouble where possible and her fair rules that make the boys so loyal to her.

It is for her judiciousness that Athos enlists her help to hide the dauphin within the great city of Paris. He expects her to be cautious and prudent with such an important task.

It is her shrewdness and courage that Porthos believes in to protect her when she volunteers to face Rochefort in the queen's stead.

Constance's discretion and care are the reason Aramis' confides in her about his upbringing. He knows she can be trusted.

It is Constance's foresight at Elodie's identification of Grimaud that allows the church to be evacuated and a day of joy becoming a day of tragedy is avoided.

It is her advice and wisdom that convince Monsieur Boudin to release the young Fleur from her marriage pact.

She's barely been appointed to Her Majesty's service before Constance is offering counsel when the king goes missing. Constance cautions her against a letter to her brother, advising her to wait. She advises and supports Anne during the king's affair with Milady. She warns against the scheme to confront Emilie of Duran knowing that it's dangerous and trying to act as prudently as possible to protect her royal mistress. She advocates for other options than leeching when the infant dauphin falls ill, knowing that the suggested methods are unlikely to help a baby so young.

It is Constance's prudence, judgement and foresight in these matters that Queen Anne comes to rely on so completely. She confides in Constance about her relationship with Aramis and her son's true parentage. She notes the warnings about Rochefort however reluctantly. She leans on Constance's prudence even as the rest of her support at court erodes away. She willingly engages in Constance's plan to help her reputation along with the people of Paris.

People believe in Constance because they know Constance acts with prudence.

She is the prudent one in her marriages. She is more financially cautious than Bonacieux pointing out their need for lodgers and is reluctant to accept jewellery because she knows they can't afford it. And she is far better at reading people and situations than her husband, she understands the importance of listening to the musketeers and following their suggestions.

She is more realistic than D'Artagnan. She comprehends the dangers and difficulties of their relationship, the prospect of scandal, the possibility of bastard children. And she acts as Prudence, stepping away from a situation that endangers them both and can only end poorly until circumstances change to allow otherwise.

And she is prudent once again in the new world of war they find themselves in. She tells D'Artagnan of the changes in Paris and the challenges that they now face. She forewarns him about Ferron and Marchauex informing him that 'Treville brought them back to fight a different kind of war.'

It is prudence that causes her to acknowledge the risk of being widowed and to try to avoid the chance of fatherless children.

And it is when she forgets to be prudent, when she is reckless and foolish that trouble arises.

She saves the dauphin from fever but by recklessly kidnapping him instead of appealing to queen and doctor to attempt the steam remedy first. It is only Lemay's support of her that saves her from the gallows.

She goes against her better judgement and orchestrates a scenario for the queen to see her missing child and the boy is nearly kidnapped by the very ones they're hiding him from.

She lets her feelings for D'Artagnan go unchecked even in public. It is this brazen recklessness that allows her husband Bonacieux to discover their affair so easily. And she pays for that thoughtlessness when he threatens to have D'Artagnan killed, forcing her cruel rejection leaving them both heart-broken and rash-minded. When she believes D'Artagnan is injured and in trouble she acts with haste and incaution. It overrides her prudence and instincts at the strangeness of the situation. She falls into a trap and becomes the leverage for Milady's attempt to escape her crimes.

She decides to throw caution to the wind and act on her feelings for D'Artagnan. She tells her husband, a man who has threatened death at such an instance, alone and without warning. He hits her, and a chain of events is started that leads to his death. Constance's reward for her imprudence is to be cursed and guilt-ridden.

Constance acts as Prudence. She is the guide for wisdom of all. They will follow her in acts of prudence and be glad. Just as they will follow her in acts of imprudence and be sorrowful.

**Notes for the Chapter:**

> The next set is the first of the 7 deadly sins with our not-heroes. Any Milady or Cardinal fans keep an eye out they will feature.


	9. Envy: Grimaud

**Notes for the Chapter:**

> Ok so here's the first chapter in our not-heroes set of the 7 Deadly Sins. The first 3 chapters kept moving around in terms of who should be which so they might seem similar or you may have a different viewpoint as always let me know. Enjoy.

* * *

 

**Envy** : Desire for other people's things. Or simply hatred of others' good fortune.

"They all need me. They need my gold to back up their big ambitions." – Grimaud, _The Prize_

* * *

Grimaud's greatest vice is envy though he does not know it. Most think it is greed. He is greedy after all. Greedy for money, greedy for power, greedy for respect.

Grimaud kills an abbot and kidnaps, maims and kills a general for money. He threatens priests and children to further his own wants. He schemes and plots and plans with Ferron and Gaston, Lorraine and Beaufort for power and wealth. He steals the belongings of dead soldiers.

Greed is why he sells French gunpowder to Spain. Greed is why he tries to steal the king's gold. Greed is what Grimaud knows. Greed is what Grimaud understands. Greed is what he controls.

"The nobility never stop wanting do they? Born greedy."

"And here you are, desperate to be one of them?"

It is with those simple words that Porthos names Grimaud's deepest sin, for it is envy not greed that truly drives him. He exploits the greed of Ferron and Gaston and others of the nobility for power because he is envious of the authority they command, of the respect they hold. He is desperate to be one of them.

He resents being dismissed by Beaufort and Lorraine, resents that he is not one of them, not good enough. It is why he endeavours to gain the upper hand in their dealings, why he insists on being involved. The money and rewards he will receive is not enough. He wants to be one of them. He wants to be their equal. And when they do not let him be one he lashes out in envy once more. He kills Lorraine in vicious vengeance because Lorraine could choose to walk away. Grimaud is envious that Lorraine could get what he wanted from Treville. Lorraine could do what Grimaud couldn't.

It is with that same envy that he murders Ferron. Because he is furious and envious that Ferron would betray Grimaud instead of his brother, that Ferron choose Louis over him.

It is envy that fuels his attempts to steal the crown's gold and the crown itself. The king is a rich man. Why should it be Louis and not Grimaud who should rule a country and have the power of the throne. The king was born to wealth and privilege as a desired heir, while Grimaud was born to poverty and hardship and a mother who tried to drown him.

It is envy of the queen's presumed regency and her growing popularity that leads to him manipulating her intentions of charity and peace, slandering and defaming her so maliciously. Because he wants the power of the crown through Gaston and he will not let Queen Anne take that from him, no matter how just her claim or reign is.

It is envy he feels towards Treville. A simple soldier who becomes a member of the court and earns the power of the regent with plain skill and determination. Just like Grimaud. Yet Treville is the hero and Grimaud the villain.

Most of all it is envy that is the source of his all-consuming hatred of the musketeers. Envy of their successes against any enemy at every turn. Envy of their rewards and achievements, their praise and glory. It is the musketeers that are heroes. Living legends. Musketeers that stop a sale to the Spanish. Musketeers that overcome a company of soldiers and save a monastery when only a quartet.

Musketeers that vindicate the refugees of St. Antoine and earn the gratitude of the people of Paris. Musketeers that stop the robbery of the king's vault. Musketeers that win the battles of the war.

Musketeers that survive the battlefields and the horrors of war again and again. Soldiers and men that defy the odds and succeed. Again, and again and again. No matter what strategy the enemy employs. No matter what strategy **he** employs.

Grimaud envies the musketeers. He envies them their respect, their acclaim, their victories, their survivals. He envies them as soldiers. He envies them as men even more.

Grimaud envies them because they are men who have what he does not. They have the choice to be soldiers when it is all Grimaud knows, all he could choose to survive. They have a home in the Garrison when Grimaud has known nothing but a life of movement. Even Eparcy was nothing, but a brief pause filled with little joy.

They have the loyalty and friendship of each other with nothing but their characters and their brotherhood. They will fight for each other, survive for each other, die for each other without a second thought. Grimaud can only buy the service of men who turn on him the moment they have a better offer and loyalty flimsier than smoke.

He is envious that Aramis shares the faith and friendship of his mother where he had only misery, rejection and disdain. Envious that Aramis could keep his faith when Grimaud never had reason to.

He is envious that Porthos has the esteem of a man like Treville and can so easily laugh off the disrespect of others. Porthos by rights should be disdained more than Grimaud yet Porthos has respect, joy and satisfaction. Grimaud has none of that and it burns.

He is envious that Athos has love. Love of his men. Love of his brothers. Love of a woman like Sylvie.

He is even envious of the unborn child she carries. He cannot fathom why she would want to bring a child into the world. He does not comprehend it, but he is envious because that child is wanted when he was not.

And it is Grimaud's envy of that love, that sanctuary, that bond, that makes him so dangerous, so destructive. He wants to take everything they hold dear because he does not have it. It is that envy that prompts his firebombing of Treville's funeral and then the garrison. It is why he attempts to blow up the church during the young king's blessing ceremony.

The gunpowder stolen from the garrison was a small reward, but he gains little from his other actions apart from death and devastation and revenge. But he does it because he is envious of the happiness and lives of others and will not allow them to have it.

It is envy that drives Grimaud.

Envy of the nobles that he lusts to equal.

Envy that incites him to exploit their greed.

Envy that prickles his pride when he is not respected, and others are.

Envy that fuels his wrath to kill when those desires and goals are thwarted and sabotaged.

Envy that makes him a sloth in understanding the will and bond of others.

Envy that makes him gluttonous for power.

Grimaud is envious and if he can't have it, neither can you.

* * *

 

**Notes for the Chapter:**

> Next up is Gluttony for those who want to take a guess?


	10. Gluttony: Feron

**Notes for the Chapter:**

> Thanks again to everyone still following. Envy, gluttony and greed kept getting circled about for this set so if there's any overlap that's why.

**Gluttony** is the overindulgence and overconsumption of anything to the point of waste. Gluttony can be interpreted as selfishness; essentially placing concern with one's own impulses or interests above the well-being or interests of others.

"Ah. The war heroes. Not quite as impressive in the flesh. Then legends tend to exaggerate everything. Even courage." – Feron, _The Spoils of War_

* * *

Feron tends towards excess and gluttony. It is his addiction. He cannot be satisfied with a little. Whatever he receives he must have more.

It quickly becomes most clearly apparent in his opium usage. He starts for understandable reasons, to manage the pain of his disease. But his habit soon takes hold. It spirals. He no longer takes it for relief but for escape. Escape from pain, escape from misery, escape from reality.

Both Grimaud and Marchaux warn him of his usage. Grimaud in particular is displeased by the Marquis' consumption. Feron enjoys losing control, Grimaud needs him to be in control of himself for his plans to work.

But Feron gives no attention to either. He indulges his addiction further, paying no heed and gleefully allows it to take hold. It spirals out of control and becomes his undoing. After all, Feron's association with Grimaud started with Grimaud's skill in procuring the drug for him. And it strengthened with Feron's dependence on the drug giving the criminal power over the governor.

And it is Feron's growing unreliability and dependence that causes Grimaud to consider ending the partnership. When Feron takes the drug after killing Van Laar he retreats to a world of peaceful hazy fog and bliss. He loses track of time and forgets to delay the prisoners' return. As a result, Grimaud must abandon his attempt to rob the king's gold, his men are killed by musketeers, he only barely escapes Aramis himself and their plans are set back significantly. Feron barely manages to keep his life when Grimaud confronts him after.

But it is not only in his addiction that Feron is gluttonous. It is in his interactions with others too.

He is a glutton for punishment. Preferably someone else's. Being Governor of Paris is not enough for him. He controls Paris with an iron grip causing famines and desperation. Makes cellmates of the innocent and the guilty.

He coerces the young musketeer cadets into fights with his vastly more experienced and trained red guards. He enjoys their defeat, their pain, their humiliation and mocks them when Constance and Treville intervene. He mocks the returned musketeers, relishes in dismissing their achievements and refusing to allow them any power in his city.

He wrestles additional power from Treville. Not only through dismissing the Royal Council and encouraging Louis' apathy but also through blackmailing him with Louis' secret.

He doesn't hesitate to have the refugees of St Antoine falsely arrested and charged. He goes further in fact and argues to have them put to death for crimes he is guilty of because it suits him. Because he wants more than what he has. He wants a share in the re-selling of grain and he doesn't care if it means others go hungry without their share. All he cares about is what he gets.

He is already considered one of the richest men in France but still he wants more. He partakes in the scheme with Beaufort's grain for more money and invests in a shipment of Grimaud's. When he loses the money he does not take it as a warning. Instead he takes out a loan under false pretences in his brother's name, in the guise of helping his sister Queen Henrietta Maria of England.

He isn't satisfied with his position in the royal family. He is the son of a king just as the other Bourbon children are. But not the son of a queen. He takes it all in good humour. He wants power but not necessarily the throne.

This doesn't make him greedy or wrathful or envious. But it does make him gluttonous because he wants more than he arguably deserves, more than his fair share.

Gaston and Henrietta Maria are dismissive of him. Perhaps they are deserving of the threats and blackmail Feron issues to Gaston and his taking advantage of Henrietta Maria's misfortunes to further his own agenda. But what of those who openly call him family?

Louis holds him in good standing. Indeed, Louis favours him above every friend and family member save the dauphin. He showers him in appointments and titles and favours. Invites him to court and the palace regularly and couldn't care less that Feron is his bastard, half-sibling. To Louis, Phillipe is his loyal, trusted brother in name and blood.

The dauphin considers him family. He calls him Uncle Phillipe, enjoys playing with him and goes to his aid without hesitation when he falls.

Queen Anne always shows him kindness, wary as she is of him. She assures him of the king's love, does not try to turn the king away from him even in her suspicions because she knows the importance of the relationship and helps and defends him when his disease makes him weak and vulnerable.

And how does Feron repay this familial love and generosity. He connivingly saddles Louis with his debt and sneakily implies blame on Anne's fictitious materialism. He doesn't hesitate to manipulate the troubled marriage for his own purposes. He plots with Gaston to usurp the throne after Louis' death and is perfectly complacent at the probability of the deaths of his sister-in-law and nephew from the scheme. In fact he openly threatens and insults little Louis and Anne to their faces despite the grudging respect and admiration he shows for the queen.

Feron is too gluttonous to put aside his own agenda for his family. He is too selfish to put their interests above his own. He frees Gaston and plots to kill the king at their father's own tomb.

The one-time Feron acts in love comes when he cannot be gluttonous. Because what more can he take after Louis' generosity in their final moments together. Louis tells him of his intent to appoint Feron as regent after his death because he loves and trusts him. There is no greater power, no greater glory, no greater wealth. Feron will have everything he has ever wanted, including his brother's love and confidence. There is nothing left for him to consume. Nothing more for him to want or take. But others are not so satisfied. When Feron refuses to betray the king, when he refuses to kill his brother, Grimaud's own greedy, proud, wrathful, envious, lustful, gluttonous desires take hold and Grimaud kills him.

It is not Feron's own gluttony that destroys him in the end but the gluttony of others.

* * *

 

**Notes for the Chapter:**

> Next up is Greed.


	11. Greed: Gaston

**Notes for the Chapter:**

> Two chapters at once! Thanks again to everyone still reading. This was a hard chapter since Gaston was only in four episodes and was more entitled brat than anything but I've given it a shot. So here we go.

* * *

  **Greed** is the desire for material wealth or gain, ignoring the realm of the spiritual. It is also called Avarice or Covetousness.

"That's too long a wait. What do I get _**now?"**_ **–** Gaston, _The Prize_

* * *

Gaston is greedy. He doesn't care enough about others to be envious. He lusts but only for money and status. His wrath is incurred when he can't have what he wants but it's borne from immaturity instead of fury. He's too slothful to desire anything else or think of others. His pride leaves him feeling entitled to the riches of others and fuels his desire to have them. He is gluttonous and devouring in his greed.

Gaston's greatest vice is greed. He wants more no matter the cost. It doesn't matter if it doesn't belong to him. It doesn't matter if he doesn't deserve it. He wants it and he'll take it.

That is the source of Gaston's greed. He feels permitted to behave as he likes. Deserving of money that is not his. Entitled to the power of his brother's birth right. He believes he deserves his brother and nephew's crown just as his mother Marie de Medici believed herself deserving of permanent regency.

This is where Gaston's greed for power comes from. He believes he is anointed to have anything he wants because he is a 'Prince of the Blood' and exempt from any rules or laws that may apply. He can commit treason. Kill three men without as much as issuing apology or repatriation. Indeed, he claims he was the victim in the massacre rather than the perpetrator because he suffered, being forced to do things against his will, because his every whim was not catered to.

He is better than everyone even the loyal Minister Treville and the rightful queen. More qualified and worthy to rule than them. He has wealth, power and influence, all because of who he is, and it is not enough. He still wants more.

More respect. More power. More privilege. More money.

Money is all Gaston cares about. His covetousness consumes him past everything else. It is why Queen Anne detests him so much. She knows he cares only for his own avarice.

He treats King Louis' previously lenient banishment with resentment and plots against him once more. When Louis brings him back to court, Gaston rewards such generosity by scheming to take the throne once more, fully complicit to having his young nephew killed as soon as convenient. He implies the likelihood of the little boy's death more than once, has it half-planned already.

When Louis dies, Gaston is ecstatic to finally be able to seize his chance. He has no regret or grief at the news. He gloats to the body of his late brother and can barely restrain his glee at the thought of taking power, much to the disgust of the queen, Treville and the musketeers.

His greed destroys any relationship he has and is the only thing keeping his fractious partnership to usurp the throne alive.

When Feron is murdered, Gaston barely reacts to the death or the revelation of Grimaud's involvement. He willingly throws his lot in with his brother's murderer. The same brother that said nothing of his treason, visited him in the Bastille and ultimately orchestrated Gaston's own freedom from the prison. All because Grimaud can give Gaston what he wants. '"To the victor go the spoils"'.

His greed is so great he can't understand why people won't let him have what he wants. He can't understand why anyone would prefer a Spanish queen or an honourable soldier over him. He can't comprehend why Louis is a preferred king.

His greed has destroyed whatever empathy he once possessed. He thinks nothing of his brothers or extended family. He resents the young dauphin. He is rude and insulting to Queen Anne, Treville and the soldiers who protected him against their own wishes. He has no regard for the innocent veterans whose deaths inadvertently led to his imprisonment or the jailer who dies to facilitate his release. He will see Paris run with rivers of blood if needed to ensure his success.

It is that same greed that is his downfall. The greed that motivates him is the greed that weakens him. Treville and the Inseparables know it. They use it, manipulate it, to manipulate Gaston. Porthos and Aramis appeal to his greed to get him to the palace alone, hinting at money and opportunities in his favour.

They use that acquisitiveness to their advantage and lure Gaston out to ensure he witnesses the decoy dauphin's departure. And Gaston falls for the deception easily. His greed led him to the palace and his hunger for all that comes with the crown ensures that he sneaks into the king's rooms to witness the scene. All as the musketeers planned.

Grimaud and Lorraine see the ploy for what it is instantly, but Gaston's greed is too great to offer the same clarity. He fails to listen to the warnings and it is that same greed Porthos and Treville play off again. Porthos uses the offer of co-command of the army and a palace and larger legacy to distract Gaston, allowing Treville the needed time to negotiate with Lorraine.

Gaston's greed wins out once more and by the time he has learned it was a trick, it is too late. Lorraine has seen the meanness of Gaston and the wrath of Grimaud and allied with the reliable and honourable Treville instead. Because Lorraine knew that Gaston's greed can neither be controlled nor sated.

And Gaston still does not see the danger of his vice, still does not know why he cannot have what he wants. All Gaston wants is money and power. Even at the moment of his death all Gaston thinks of is money. When Milady accosts him, he offers to give her anything she wants. He can't understand her refusal. He can't understand that there may be something Milady wants far more than the money in Gaston's purse. He expects greed in Milady, because he expects it in all he encounters. It is what he understands. He cannot think what else Milady could want instead. He does not comprehend the value of loyalty, trust and friendship. The importance of respect and honour.

It is said that the 'love of money is the root of all evil'. Well it is Gaston's greed for money and power that is the root of his evil.

* * *

 

**Notes for the Chapter:**

> Gaston, Feron and Grimaud could have probably switched sins a few times but they'll take what they've been given (and then some). The next few sins were more clear, with Lust featuring in the next chapter.  
> Until then enjoy life and the stories from my fellow posters.


	12. Lust: Rocheforte

**Notes for the Chapter:**

> Hello to anyone still watching for this story. I haven't abandoned it, there's just been some unforeseen delays.
> 
> Anyhoo here is the next chapter in the series and the section of antagonists. I am giving a warning in this one for domestic abuse/ sexual assault/ strangulation. It's nothing particularly graphic but it does reference the scenes in S2 that involve it so you may want to skip depending how uncomfortable it makes you.  
> Other than that, thanks again to all my readers.

**Lust** , or **lechery** , is intense longing. It is usually thought of as intense or unbridled sexual desire, which leads to fornication, adultery, rape, bestiality, and other immoral sexual acts. However, lust could also mean simply desire in general; thus, lust for money, power, and other things are sinful. In accordance with the words of Henry Edward, the impurity of lust transforms one into "a slave of the devil".

"There was a woman. The thought of her kept me alive." – Rochefort, _Through A Glass, Darkly_

* * *

It is said that lust is the least serious sin because it is the only sin that does not direct harm towards another. With Rochefort it is the most dangerous, the most destructive. The deadliest. It consumes him. It is a lust for acknowledgement that drives his envy towards Aramis and the other Musketeers. A lust for revenge that forms his wrath towards those that rebuked him. A lust for power that forms his greed and his willingness to betray the French throne. His lust for control causes his sloth towards Louis' shirking of responsibilities. When his lust becomes gluttonous he turns to prostitutes for indulgence. His pride is fuelled by lust for freedom and respect of his own. Most of all it is his lust for Queen Anne that defines and consumes him.

He believes his feelings are pure but as Anne says, he 'understands nothing about love'. If he truly loved Anne he would accept her feelings and wish for her happiness no matter how painful to him. But his love is superficial and tainted.

It is this desire and obsession that blinds him to the true Anne, the one with thoughts and feelings and desires outside of Rochefort's own. He lusts for what she represents. Even before Anne rejects him, he shows no true love for her. What could have once been thought of as his redemption was as fabricated as his love. This is why lust is Rochefort's greatest sin.

He sees her son's illness as a way to manipulate her feelings for him and expresses no real empathy for her. He borderline threatens, demeans and dismisses her to satisfy his craving for power and for control of the crown even when he believes in her love for him. His vision is of Anne as his wife and consort but not as queen in her own right. He has no respect or belief in her abilities nor does he ever consider giving her her own agency. He has no concern or thought for what Anne wants. Instead he thinks of her as a prize and that is all.

His blackmail of Marguerite and attempts to isolate Anne from Constance and Treville are out of a desire to control her. To have her as the Anne he thinks of, not the Anne she is. He wants Anne to be his and his alone, he doesn't care about who she cares about or the confidences and joy she receives from others.

Her imprisonment by Marmion brings no real fear about her well-being. While all others present worry as to her and the dauphin's fate and try to escape or help, Rochefort's only real action is to tell the story of his attachment. He insists her feelings for him haven't changed. Ironically the only truth in his obsession and the one thing he refuses to recognise.

It is lust-fuelled fixation that drives him and when the illusion is broken, he lashes out and leaves bodies in his wake.

When Anne calls him a monster he proves it. He attempts to force himself on her. Again, indulging his cravings over her needs and wants. When she successfully fights him off and injures him it is lust that powers him. Lust for revenge because his lust was unsated elsewhere.

It is not love Rochefort holds for Anne but lust. He wants to punish her for her rejection. The anger is not driven by pure love spurned but shallow, insincere lust. It was not Anne, the kind-hearted, strong-willed, intelligent, opinionated Queen of France that Rochefort wanted. It was the meek, mindless, docile image he had of her. A mirage that never existed in the first place, except for Rochefort's mind.

It is that unfulfilled lust that results in him attacking Milady. It is the lust of Marguerite, Queen Anne and Aramis and even Louis' lust for a peaceful life that he uses to further his agenda.

He falsely accuses Constance and Lemay of the sin because he understands the power of lust. But he cannot understand the virtue of its counterpart love.

It is love that sustains Anne, not lust. Love for her son, her lover, her friends, her husband and her country. That is what keeps her going, that is what causes her to return to the Palace when she could have escaped.

Love for others is what drives the queen, the musketeers, the lady-in-waiting and even the reluctant king.

Rochefort's lust is the cause of his pain and suffering. He cannot see that love is the relief for Anne's.

This is what infuriates him so much. He cannot see why Anne would indulge Aramis' lust but deny his or why Anne's lust is for Aramis over him. He only sees the sin not the virtue that purifies it.

From the first moment of meeting, Rochefort shows lust. The musketeers encounter him as he is about to be lynched, a punishment for his bloodlust. And it is that bloodlust that causes him to murder and kill so instinctively. An innocent innkeeper, a civilian, a priest who comes to pray at the wrong moment. All victims to his bloodlust.

And Rochefort's lust never dissipates. He still lusts even after his vision has been shattered. He lusts still for control and supremacy and continues manipulating Louis for it. His lust for revenge and retribution shows in his attempts to humiliate and destroy Aramis and his attempted execution of Constance.

Most of all, he still lusts for Anne, still lusts for power over her. His desires to control her are seen when he offers to be her friend, manipulation once more. When she refuses to indulge him, he lashes out again.

Even when he petitions for her death, it is driven by lust.

Rochefort carries out the sentence himself. He wants to be the one with that power. He craves her, wishes to possess her and literally will hold her life in his hands.

Anne knows full well the sin that consumes him and calls him out on it several times.

His lust is clear the moment he arrives to murder her. He comes up behind her, against her. He touches her. Even his choice of execution – strangulation. A method of murder often used by one lover to another.

It is lust to possess her, to own her. He says as much when duelling Aramis. Anne is his. Nothing more than an object he's entitled to, to pander to his whims. But while Rochefort is consumed by lust, Aramis is driven by love and that is why he triumphs.

Even in death Rochefort still does not understand the difference between vice and virtue. He believes himself betrayed. But it was his lust for Anne that convinced Spain to use him, and his lust for power that made them realise they couldn't.

He believes Anne betrayed him through lust when in truth it was his lust that betrayed her.

Lust lies. It passes itself off as love but it is only a poor imitation.

Rochefort believed the queen was his because of lust but love ensured Anne never was.

**Notes for the Chapter:**

> Bit more of a comparison piece than other chapters but I thought it helped highlight Rochefort's lust better. Let me know what you think or if you have any questions.  
> Next chapter is Pride which will be up as soon as possible.


	13. Pride: Richelieu

**Notes for the Chapter:**

> Hello again to all my readers. Thanks to everyone who left kudos. Here is Pride.  
> For anyone waiting for our heroes they'll be back in Chapter 16 after Wrath, still rewriting a few chapters.

* * *

 

**Pride** is excessive belief in one's own abilities, that interferes with the individual's recognition of the grace of God. It has been called the sin from which all others arise. Pride is also known as Vanity.

"No one is beyond my control." – Cardinal Richelieu, _Friends and Enemies_

* * *

The Cardinal is proud of his pride. He may be a man of God but even men of God can be proud of their achievements, to acknowledge their success. After all, has he not used his pride to serve his country. It is his pride in his skill and his duty that ensures his full ability. And it is his pride in France and as a Frenchman that has ensured he use his talents for France. Can he not then take pride in the glory and prosper of his work.

He is a proud man not a cruel one. A practical pragmatist not a monster. All men have pride. Richelieu is just sensible enough to utilise it in ways and means that benefit instead of dressing it in cumbersome binds and ropes and labelling it as ridiculous honour. The most inconvenient word in the English language. And French, Spanish and Latin as well.

For what is honour but romanticised pride. A remarkable lack of self-awareness of one's own vanity. Well Richelieu is not oblivious, not to his character or anyone else's.

It was his pride at the thought of defeating the musketeers that is the source of genius of so many of his plans. Framing the musketeer Athos for the deaths of civilians. Milady chose Athos of course (and his patronage of Milady was another source of pride until it was not). But that was one detail of a magnificent plan of which he was architect. If only it hadn't been for those musketeers and that coward Dujon's confession.

And he was able to put an end of that foolish idea of Louis' to negotiate peace with Spain. Communicating as an equal. Making overtures of peace with a land that wanted to supplant the destiny of France. Listening to his affiliated wife. That was the thought of a man with no pride!

Well Richelieu has pride and he will not let it be injured by a Spanish woman of all people.

It was his pride that persuaded him to use that giant LaBarge to win the wager with Treville. He would have won too if Louis hadn't insisted that the prize money be forfeited because of Treville's injury.

It is pride in pragmatism that allows him to make the difficult choices. The pride in France's destiny of greatness and leader of the known world that permitted him to see the need for pardoning that Bonaire man and financing his expeditions.

It is pride that foresaw the danger of Savoy allying with Spain and the true allegiance of that poisonous snake Cluzet. It is pride that pushed for the sacrifice of those musketeers for the greater good of the duchess and France.

It is pride that protects the throne from Marie de Medici's latest coup, removing the evidence of Fr Durand and ensuring the child is no a longer threat. Protecting Louis from the schemes of his traitorous mother.

And it is pride that ensured he won his prize of Ninon de Larroque's fortune with the agreement of the musketeers. After all it was her wealth and her silence he wanted. He had no care if she lived or died and he is proud of how he achieved his goal.

It is his pride in his character and his successes that let him completely ignore Treville's sermons and lectures and the musketeers' ridiculous bleating and allow him to do what needs to be done.

His enemies have tried to use his pride against him. Some have been close to succeeding. He knew the Pope's feelings towards him, but he was diverted by Luca's dangling of the position in front of him. He allowed Luca's vague prizes to dictate how he handled the matter. Heresy was not his original plan, though he made it work nicely. His head was turned. He became too fixated on something that he didn't really want in the first place. It blinded him to the true scheming until it was almost too late.

He was foolish then, he knows, not to have seen the ploy. But his pride will not allow him to be tricked again.

Adele tried to use his pride against him. Massaging his ego to hide her betrayal. As disloyal as she was beautiful.

And the Musketeers. He had believed the loss of Athos to have sufficiently weakened them. He had not considered it to be a ruse. A miscalculation on his part.

But Richelieu is not a king or a soldier. He is a cardinal and First Minister of France. Pride is his weapon and pride is his shield.

It is his pride that has protected him from enemies just as they have tried to use it against him.

It is his pride at being unwillingly to die at the hands of either rebellious women or back-stabbing hypocrites that helps him realise his true enemies and ensure his survival. It is pride that helps him come to terms with his unsuitability for a 'clerical position' and realise his true desire to be more influential in the world.

It is self-respect that makes him suspect Adele and it is that self-respect and pride, not lust or wrath or envy that signs her death. He will not be made a fool of by a frivolous, treacherous courtesan nor cuckholded by a libertine musketeer. And he will not be betrayed to his enemies by those who claim to be his loving allies.

It is pride that causes him to abandon the increasingly unreliable Rochefort. A man whose psychopathy had become less useful and whose admiration for the young Spanish queen under his former tutelage had become a little too strong. He will not come to the rescue of a man whose loyalties to him and France may not be as unbroken as they once were.

Richelieu knows it's important to use his pride at the right time. Just as he knows he must repress it at the wrong moment. It is this instinct which has come to aid him when necessary.

Even as he lay dying his pride insisted that his work continue and the comtesse's money be secured to save the Treasury and soothe the king with a new navy.

It is not that Richelieu ceases to be prideful, why ever would he do that. Pride is his strength not his weakness. No, it is knowing when to be open of pride and when to hide it.

It is that ability that allows him to work with Treville and his undisciplined soldiers. To enlist their help to stop Vadim and his scheme. Besides having the musketeers do the dirty work saves his red guards until they are needed and makes him look better.

It is swallowing his pride to grovel for forgiveness from the queen that saves his head and life to serve another day. And to give up Milady when she has become more liability than asset. To cut his losses and regroup.

And it is that ability to let his pride be tarnished and dented that allows to him and it to survive, to come back stronger and Richelieu proudly looks forward to the day he pays his enemies back in full.

It is losing a battle to win a war. Pleading for his life to gain knowledge of a treasonous affair. A quiet death to be used as a future warning. A sacrificed pawn for a better position on the board.

And he is proud of it. For he has clear vision. Nothing, no one, no nation, no God, no vice or virtue will stand in his way.

It is said that Pride is the one sin you cannot beat. The Cardinal did not beat Pride. He weaponised it.

**Notes for the Chapter:**

> Next up is Sloth.


	14. Sloth: Louis

**Notes for the Chapter:**

> Thanks again to all readers, followers, and reviewers. I know Louis isn't a villain but he spends a lot of time as an antagonist which is why he ended up here.  
> Anyhoo. Enjoy

* * *

  **Sloth** is the avoidance of physical or spiritual work.

"Being a king is so boring! It's so unfair!" – King Louis XIII, _The Exiles_

* * *

Louis is proud. Louis is lustful. Louis is greedy, glutinous, envious and wrathful. But most of all Louis is slothful.

It is said that evil triumphs when good men do nothing, and Louis is evidence of that.

Men like Rochefort, Gaston and Grimaud take power because Louis does nothing to stop them.

His own mother calls Louis a weak king. And just because she was trying to overthrow him to steal power for herself, doesn't make her wrong.

His indifference to his responsibilities is evidenced soon enough. He complains about his duties of State. He dislikes preceding over trials and finds council meetings tedious. He openly prefers to spend his time drinking, hunting and flirting than rule. It is left to his queen, his ministers and his soldiers to govern as best they can and he doesn't even give them the stability to do so properly.

Disaster starts to occur when those worse-intentioned rise. When Rochefort arrives, it is easy for him to manipulate events and Louis freely gives him power while he indulges in his impulses with Milady. Because Rochefort doesn't force him to rule. Rochefort doesn't coerce him to deal with boring people and attend dull meetings. Rochefort doesn't make him think.

When Rochefort's treachery becomes obvious Louis has become so indolent that he cannot even oppose the man. He doesn't stop to listen to Athos' accusations or hear Queen Anne's protestations. Even when he questions, he is easily cowed and easily led. Because Louis can't remember what it was like to actually **do**.

And people are irretrievably harmed by it.

Furthermore, he repeats the pattern. In fact, he gets worse. His older brother terrorises Paris and his younger brother raises an army because Louis does nothing to reign.

He does not reign his country, he does not reign his city and he does nothing to rein his brothers towards princely action.

His soldiers die for him in battle every day and Louis can barely remember there's a war on, never mind actually attend a meeting to discuss it. Treville rightfully accuses Feron of distracting the king and the queen actively tries to encourage oversight but he rejects their actions to indulge himself with his son.

Any action taken by Louis at all is because he wants them to go away and stop annoying him because he can't be bothered to exert himself. His overlooks his brothers' crimes because he is unwilling to deal with the outcome.

He ignores his advisors' cautions because it is inconvenient to do so. Because Louis does not like inconvenience and that is why Louis is not a better man.

Not only is Louis slothful as a king, he is also slothful as a man. Time and again he has an opportunity to better himself and time and again he rejects that opportunity.

He refuses to take any responsibility for the erosion of his marriage. He belittles and dismisses Anne, openly and repeatedly humiliates her at court against her enemies, her friends and her peers. He has a highly public affair and criticises her as a woman, spouse, queen and mother. Senselessly blames her for his own misfortunes. Refuses to let her speak in her own defence against serious accusations and accidently sanctions her assassination twice.

When his own deeds are thrown back at him, Louis won't even consider their possible consequence.

When he is confronted with his own faults Louis refuses to even reflect on his actions.

He discovers his subjects' poor opinion of him and that slavers are kidnapping Frenchmen. He swears to put an end to it, to be a good king. And once back at the Palace… he does nothing but have a man brutally executed and call it leniency.

He orders no investigation into the slavers trade. Pays no thanks to the family of the man who saved his life at the expense of the man's own. He blames his own soldiers for talking him into the idea in the first place when they had advised against it.

When he is confronted by the consequences of his carelessness in the form of Marmion, again he learns nothing. He is faced with the revelation of the death of an entire town because of his poor management. But he doesn't promise to be a better king. He doesn't actively move to govern.

He completely ignores any epiphanies had and falls into self-pity and paranoia. He blames others once more. And gives up further autonomy and power and never realises it because he is too unwilling to change.

Louis' sloth is deadly. It forms all his thoughts and actions. It marks everything he touches. His vice is so entwined in him that he commits a sin he would gladly repent but never even notices what he has done.

He sins against his son.

Louis loves the dauphin, that is true. It is his strongest redeeming quality. But because of Louis' sloth the sins of the father will be paid unto the son.

He laments that his son will only be six years old when he inherits the crown.

Six years old.

And king.

Of a country at war inside and out.

Of a crown almost bankrupt from excess.

Of a people starving, poor, desperate, displaced, dying and angry.

With a mother hated purely for her country of birth.

Because Louis did nothing.

Because Louis refused to rule as a proper king should.

When he learns about his upcoming death, Louis does nothing but focus on his son and never thinks to the boy's future. He never appears to try to impart wisdom or humility or justice to the boy. He never teaches him how to be a good king, a proper one. He never encourages the dauphin to avoid his mistakes. He actively interferes with everything Queen Anne tries to instil in the child.

Instead Louis indulges him, cossets him and spoils him so that the child will be completely unprepared for the rapidly approaching event. An event that only Louis knows is coming and can actually prepare for because he forbids Treville from doing so.

Because he is unwilling to forgive Queen Anne's perceived betrayal and form a partnership with her, he considers men whose only link is shared blood to act as a potential guide for the young boy, refusing to consider the increasing risk that they may be the most dangerous of all.

Gaston, Grimaud and Ferron are able to incite a potential civil war because of Louis' inaction. And when he dies his legacy is to leave his son in more danger than he ever was before.

Because he does not want to educate himself, improve himself, exert himself, inconvenience himself.

King Louis XIII is not an evil man, but he is a slothful one.

**Notes for the Chapter:**

> Wrath will be posted next and then back to our heroes again.  
> As always let me know your thoughts', questions, general musings.


	15. Wrath: Milady

**Notes for the Chapter:**

> Hello again to all my readers. Last chapter of the first set of the 7 Deadly Sins. 
> 
> Hopefully all you Milady fans out there, like this. I did my best to do her justice even if I am highlighting her murderous tendencies. Enjoy.

* * *

 

 **Wrath** : Desire for Harm. This is rage taken up a few dozen notches, combined with blood-thirstiness and a general appreciation of too much violence.

"I know what I am! You don't understand. I'm not looking for absolution! I want revenge!" – Milady, _Friends and Enemies_

* * *

Milady is Wrath. After all what else would one call the goddess of death and destruction.

Milady's very introduction demonstrates this. She kills the Spanish mole Mendoza for the crimes of being a terrible bore, a bad lover and bought loyalty. And then she frames D'Artagnan for the slight of rudeness and his need for a lesson in manners. Milady does not take an eye for eye. She takes tongue, ears, scalp and as many limbs as she feels like too.

Milady forces her wrath on people regardless of their identity. Innocent or guilty, it matters not to her.

She willingly betrays Comtesse De Larroque to the Cardinal's sham court and coerces her into a false confession and the stake, threatening to see innocent young women burned to do so. All for payback because Ninon unknowingly flirted with her husband. It drives Milady into a jealous rage at the sight.

She kills Suzette and a noblewoman for a necklace and a dress respectively. Two women dead who held no quarrel with her. For two fancy items that Milady wanted and could have gotten through other means. Violence is how Milady operates. Death is how Milady breathes. Wrath is so much a part of her that she no longer notices it, she merely falls into it like a bad habit.

She silences the assassin Sophia in the breath of a moment, on a turn of fortune. She frames the innocent Mellendorfs, slaughters the moneylender and is ready to drive a blade into D'Artagnan to prevent discovery of her involvement on the queen's life. She doesn't hesitate to kill two Red Guards, she claims it was to save D'Artagnan but her ease in both action and choice speak volumes as to her true nature.

Milady's entire being represents wrath. She deliberately selects Athos to take the fall for the Cardinal's scheme to discredit the Musketeers. She targets those around him to burn, out of revenge for his perceived betrayal of their relationship.

She murders the man she seduced to save her from the noose because of his ties to Athos.

She burns his house to ashes out of desire to destroy everything that reminds her of Athos.

She is consumed by her need for vengeance. Particularly against Athos. Her fury is what motivates her, drives her, fuels her.

She has Constance kidnapped and threatens to kill her as leverage, insurance and retribution against the musketeers.

Her seduction and aid to D'Artagnan is a ploy fuelled mostly by her desire for revenge and the opportunity he provides for it.

She openly admits it to a soon dead priest, to D'Artagnan. Pulling them into her rampage of destruction.

She kills her English stepson because old habits die hard. Violence and anger are all she knows.

Aramis comments that she is 'too quick to deal death' when she goes to kill a guard during his rescue. Kind, unjudging Aramis who is the least mistrustful of Milady and the first to admit to indulging in the thrill of death and danger realises the dark and destructive trait enough to feel a need to warn her.

And when her wrath is fulfilled, she is numb. Athos is dead, but she receives no satisfaction for it. The success of her wrath does not fulfil her.

Even the good Milady does is fuelled by wrath. She breezily kills one of Marmion's guards because he 'kept a lady waiting'. She doesn't think twice about killing Catherine when the woman demands reprisal, not understanding Athos' reluctance or discomfort with the idea. She threatens Rochefort openly after he bullies her.

Her aid in saving queen, crown and country is fuelled by wrath and a desire for revenge against Rochefort for his treatment of her.

Milady cannot escape the hands of wrath so easily. It has become too familiar with her. She still murders and plots and seethes. She cannot escape being wrath's 'creature' no matter how hard she tries. For if it is not how she sees herself, it is how others do.

The Cardinal considers her such, wondering if she is behind his poisoning, questioning if she enjoyed killing Mendoza.

Her former sister-in-law Catherine becomes consumed with hatred and retaliation at the very thought of Milady, blaming her for Thomas' death and the loss of her privileged lifestyle.

Neither Constance nor D'Artagnan trust her to overcome her thirst for vengeance.

Athos believes her unable to change no matter how much he wishes. Something Milady herself realises after her return to France. He immediately assumes she has harmed Sylvie in her jealousy and unleashes his wrath on her. The one-time Milady has managed to overcome her anger and fury at the thought of another woman succeeding her is the time she realises no one will ever believe her capable of it.

And when she does not inflict her own wrath she inflicts wrath on the behalf of others. She worked for Richelieu for years. It is in the Cardinal's service that she commits treason, obtaining the king's secret letters and besmirching the name of his loyal knights. She acts as party to his schemes, killing musketeers, and framing innocent subjects for Richelieu's convenience. And her greatest possible act – one even Milady herself is troubled by – she acts as Richelieu's accomplice in the attempted assassination of Anne of Austria. Richelieu's wrathful punishment to the queen for not yet bearing an heir to the throne.

Her past sins force her to act as Rochefort's wrath. He blackmails her to kill the Spanish Ambassador Perales for doubting him, blackmailing him, insulting him and for revenge against his Spanish capture.

Treville refuses to see her as anything more than a 'French murderess' and will only offer her a role as such. It is having no other options that Milady finds herself as the queen's assassin and kills Gaston for the threat he poses.

It is through wrath that Milady starts and in wrath that Milady ends. She comes full circle.

She begins in the service of a patron who wanted to destroy the Musketeers, only to finish in the service of a patron who champions the Musketeers.

Wrath made her an unknown antagonist to the Musketeers and wrath made her a secret and clandestine ally to the Musketeers.

Acting for the wrath of another caused her to attempt to kill a queen. The wrath of others caused her to enter the service of the queen she once tried to kill.

The Queen of Wrath becomes the Queen's Wrath.

* * *

 

**Notes for the Chapter:**

> Up next it's another set of 7 Deadly Sins and the 7 Heavenly Virtues both featuring our heroes. For anyone still guessing the character for the sin, first one up is Envy. As always feel free to let me know your thoughts, opinions, what you agree with, what you disagree with, speculation. I always enjoy reading what others think. Bye for now.


	16. Envy: Anne

**Notes for the Chapter:**

> Hello again to all my readers. We are back to our heroes now with another dose of the 7 Deadly Sins and then finish up with the 7 Heavenly Virtues. 
> 
> Thanks again to everyone leaving me kudos. It's much appreciated.

* * *

**Envy** is the desire for others' traits, status, abilities, or situation.

"I can never be free to love as I want, but you can." - Queen Anne (to Constance), _The Prodigal Son_

* * *

Anne's greatest sin is the one she has reason to be least suspected off. For queens are to be envied, not to be envious.

But even queens are only human, and humans fall to vice just as easily as they rise to virtue.

She tries to fight often and fervently. She is privileged after all. What right does a queen have to be envious of another. It is shameful as a woman. It is most unbecoming of a queen.

But even the chaste lust, even the humble are touched by pride, even the diligent fall lazy, even the patient know wrath, even the temperate can be gluttonous, even the charitable may harbour greed, even the kind might feel envy. Even the virtuous can sin.

And however ardently she prays, however bright she smiles, however much she offers she cannot stop the sin.

She envies a foolish peasant girl her ability to inspire love and devotion with such hatred and violent words when Anne preaches love and charity and is hated for her Spanish birth.

She is envious of Christine, the Duchess of Savoy, her own dear sister-in-law. How can she not be? Christine is a trusted friend. But more so she is the mother of a wonderful little boy. Anne will always envy Christine no matter how much she loves her, because Christine has what Anne wants most.

She is envious of the Comtesse Ninon de Larroque. Ninon who has the independence and the agency to do as she pleases, be it with lovers or learning. Ninon who has the freedom to express her opinion and act as she likes. Ninon who can charm and deny Anne's own king in the same breath. Ninon who can choose to marry when and who she pleases. But it is envy at the sight of a familiar pendant that sparks the greatest burst of jealousy of the Comtesse who has always deferred to and respected her. It is envy that causes her to cross the first boundary and impose where even a queen has no right to tread.

It is envy of an innocent German girl that causes her to decamp to a lake. Envy towards a nun helping to save her life that causes her to pry. And envy why she imposes further inquiry. She is appalled at her jealousy later when the woman is killed but envy of a once-thought dream that wasn't even rightfully hers spurs her on.

It is said envy is most often the sin that causes the greatest unhappiness and Anne well believes it. Envy is her greatest vice because even when her deepest wish is granted, envy still claws at her.

She is envious of Milady De Winter who comes to court and the bed of Anne's own husband. Milady who is beautiful and captivating and besotting. Anne is envious of her looks, her charm, her wiles. All things that Anne is not. Most of all she envies that Milady is noticed.

It is why she envies the First Ministers. Men - for why listen to a woman even one born and bred to a life of politics – who command the king's attention and countries' respect. Men who dictate and speak for the land of which she is queen, yet has no voice. Anne envies them their influence.

She envies the king too. Louis was given sovereign and power solely for the chance of being born a boy. She envies him the power and authority he wields and seethes with jealous fury that he so carelessly abandons it. She envies his relationship with the dauphin, their son. Her son. But Louis is the one who holds the power there too and, so she envies him once more. But mostly Anne envies him for the freedom to be bold and choose when she must be cautious.

She envies Gaston and Phillipe though it disgusts her that she does. She envies the forgiveness they receive but do not deserve, envies the pardons from Louis for such bitter crimes caused by jealousy and greed when she receives none for one far less wicked and driven by the heart.

Even those closest to her cannot escape her jealousy. She envies Constance as much as she adores her because Constance is free. Free to love, free to live. Free to fight as an equal and free to choose.

She envies Aramis his freedom and his life as much as she delights in his relinquishing of it for her.

And she envies Treville, never more than when he is made regent. He has what is Anne's by right, regardless of who's it was to bestow. Her jealousy flares when Treville takes her son because what right does a minister have over a mother even one that is regent to a young king.

She even envies her son a little, ludicrous as it is. After all she knows the trials and tribulation that he faces. The dangers she will give heart, body, mind and soul to defend him against. She has no reason to be jealous of her beloved little boy that is her purest gift. And yet she does. Because no one will question his right to what is his as the _ **king's**_ son.

No matter how hard she hides or tries to resist. Envy is her greatest flaw, her constant temptation, her deadliest sin. Ashamed as she is, she envies those she governs, their freedom, their choices, their power and their love. And so, kind, generous, forbearing, privileged Queen Anne feels envy no matter how careful she is.

And, she gives in to jealous temptation. She indulges in the love that she wants because others have known it so why not she. She wields her authority because she is a monarch and monarchs command. She negotiates treaties because if king and council won't than why not the queen instead. She manipulates and guilts those she rules because her eyes are green. Because they have what she does not.

Queen Anne sins and she repents. She encourages Constance to follow her heart in her stead, pleads with Aramis to take his second chance and begin again.

She apologises, gifts and forgives. Advises and placates. Watches and smiles. Fights against the demon in her heart.

And she confesses all to God: she desires love that she cannot have; she covets power; she resents reprimand of her actions; she wants revenge for those who wronged her; she indulges in the authority she has; she allows the envy to possess her. And she asks for God's forgiveness and the strength to resist once more.

And when she has finished her contrition, she retires to bed and enviously dreams of another life she might have lived.

* * *

 

**Notes for the Chapter:**

> Until next time. Which by the way is Gluttony.


	17. Gluttony: Porthos

**Notes for the Chapter:**

> So this caused a few upsets. Hopefully no one hates me too much.

* * *

 

**Gluttony** is an inordinate desire to consume more than that which one requires.

"Self-discipline isn't my strong suit." – Porthos, _The Challenge_

* * *

Porthos' sin is gluttony. He always wants more of something. He'll chance what little he has, to get a bigger share. He's never satisfied with just what he's got. It's the gambler in him. An addict, a risk-taker.

He is not content with the wages he earns as a musketeer. Instead he gambles those wages in a tavern with a red guard. Or uses Aramis' uncanny shooting abilities to gain more.

And he does more than bet his own earnings. He stacks the deck. He cheats. Takes advantage of the naïve D'Artagnan even after the youth's help to save Athos. And when he is challenged he refuses to be penitent. Instead he takes offense and engages in a duel. His only remorse is that he needs to get better at hiding his cheating. But he is not upset at the hazard rather he enjoys it.

He can't give up soldiering. He's addicted to it. Because he is a glutton for violence and danger and adventure. He revels in fights and risks and gambles. He is insatiable for it. He wants to stand and fight against the assassin Gallagher and his men, essentially gambling with Queen Anne's life. He enjoys sparring with his brothers-in-arms and is quick to engage an enemy in a fight. In Epacry he threatens violence on the captured deserter repeatedly. He has no hesitation in trouncing his brother-in-law Levesque, only pauses to avoid disharmony so quickly and it is Aramis who must warn him to stop.

He enjoys interrogating their prisoners for information, the games he and Aramis play. He takes on the group of men who hold the stolen grain by himself because he is greedy for a fight. He indulges in a forbidden duel with only a fork because he is gluttonous for money and violence. Victory and coin.

He has no problem ensnaring Vargas and his men by himself. He willingly undertakes the risk, happy to gamble his life on their only roll of the die. If his friends were not in such great danger, if all of France was not at risk, he'd have enjoyed it even more.

He wants more than his lot in life. He is not satisfied with life in the Court of Miracles and becomes a soldier. He is not happy as just a musketeer. Men known for their honour and valour, loyalty and skill. He doesn't just want to be a respected and favoured member of the king's own elite and esteemed guard. Porthos wants praise and glory with it. He wants people to know his talents, he wants rewards for his successes. He is not satisfied with his own acknowledgment of these achievements and the unspoken pride of his captain and brothers.

He is traditionally gluttonous in his consumption of food and drink. By his own admission he's always hungry. Constance implies as much when she confiscates his and Aramis' winnings from their shooting games since they're "'expensive to feed'". What's more he grouses about having to go on a mission before breakfast. He overindulges in his drinking at his birthday to the point he shoots melons from his friend's head, wanders drunkenly around Paris, indulges further in wine and cannot remember if he is truly guilty of the murder of a young man.

He delights in finding a flask on the battlefield (until he discovers it's Spanish and bad at that), he's happy to partake in Bonaire's alcoholic gifts even though the man is a criminal (albeit unaware of the full extent and true nature of his crimes). He comments on the wastage of the brandy they use as a diversion to save a mother and son.

When he elects to perform the surgery on Bonaire he drinks some of the alcohol that is meant for the wound. When he is captured by Balthasar he requests brandy instead of poetry and when Rochefort dislocates his arm in their scheme to escape, Porthos requests wine. His first instinct for distraction is his own cravings.

When he and D'Artagnan await unsuspecting in a trap, Porthos immediately commandeers the wine. Indeed, his first comment upon seeing it is to hope for it to "'please be good, please be good'". The inevitable long wait becomes immediately more comfortable at the sight of wine. He is more unhappy with it's destruction than the ambush or their attempted assassinations. Because Porthos is gluttonous.

But Porthos is most gluttonous and indulgent in his emotions. His feelings run to the excessive and the extreme sometimes calling his ability to prioritise his duty into question and it is others who often feel the sin.

He cries at Athos' funeral. He knows the truth. He knows Athos is alive and well but the thought of such a tragic loss is enough to send his emotions to the extreme and he tears up during the eulogy.

He refuses to forgive Aramis' departure easily and instead nurses his feelings of resentment and betrayal. Porthos knows Aramis' reasons, knows that he was trying to keep his vow to God and protect his loved ones. To make amends. It doesn't matter that Athos and D'Artagnan felt the loss too but instantly forgive, focusing on the sweetness of the reunion instead of the bitterness of the absence. But Porthos holds his grudge. He unleashes his resentment at Aramis, unintentionally furthering the distance between them and accidentally isolating Aramis further. It takes near-death before he begins to forgive, and their once solid friendship can start to rebuild.

He indulges in his enjoyment to see a man like Bonaire injured and dependent upon Porthos' mercy. Gluttonous to have his justice and see the trader humiliated and punished even at the cost of their mission.

He sleeps with a willing Flea. It is not lust that is the real sin but gluttony. Porthos knows Charon's feelings for her. It is not envy that drives him but gluttony for a taste of his old life when his new one is in jeopardy.

He is extreme and gluttonous in his feelings towards Treville. Angry at the man's silence when he is inquisitive to his past, refusing to treat Treville as anything but another musketeer. But murderous when the captain is shot. He indulges his suspicion and anger of Treville's secrecy so that he almost falls for his father's lies. In his extreme anger he accuses Treville of favouritism and resigns his commission. And it is because Porthos is gluttonous.

Gluttonous for a family. A family of more than just his brothers in arms and combat. A family with a wife and children to call his own. Just his. He won't sacrifice his career for his family just as he wouldn't compromise his family for his career. Porthos wants both.

Drink and food.

Praise and glory.

Fighting.

Money.

Family.

These are the things Porthos is gluttonous for.

**Notes for the Chapter:**

> Greed is next. Whenever I get around to posting it.


	18. Greed: Constance

**Notes for the Chapter:**

> Apologies for the length in between chapters. I'm trying to focus on some new stories and having serious writer's block.

* * *

 

**Greed:** Wanting too much of something.

"I'm sorry to cause you pain but I won't give him up." – Constance (to her husband about D'Artagnan), _The Challenge_

* * *

Constance is greedy. Not for money, though she does like pretty, shiny things. No, Constance's greed is for things far more precious.

Respect.

Love.

Freedom.

Esteem.

She is a woman in a man's world and she wants to be treated as an equal. Perhaps it is a reasonable wish in our world but in Constance's time, it is greed, pure and simple. And Constance's greed stretches beyond quiet longing. It twists her loyalty and bravery and turns her gluttonous, proud, lustful, envious, wrathful and slothful.

She wants recognition. She wants status and respect. She wants her voice to be heard and her opinions considered. And she does not always consider those who would be harmed from them.

When Queen Anne offers her the position of confidant, Constance doesn't hesitate to accept. She covets escaping her life as a common tailor's wife to something of more substance, more clout in the world. She longs to trade in her husband for freedom.

She becomes greedy on the favour the queen gives her. Indulges in it. Excessive. Ravenous. Her appetite makes her rash. She goes too far. She's too brusque and blunt and forward, to King Louis, to Rochefort, to Dr Lemay. Instead of influencing them she alienates them.

But Constance is still greedy for favour, still desires to be right. She kidnaps the dauphin. To save his life almost at the cost of her own because she did not spare the time to talk her plan through with the queen or Dr Lemay or anyone at all. Because of her avarice with her intentions Constance deprived a woman of her child. In trying to spare a son, she terrified a mother.

She wishes for Queen Anne to know that she is her most loyal and bravest servant, no matter the cost. She will stay behind to face Rochefort on her own or follow the distraught woman's pleas to see her son instead of counselling a queen to trust in her loyal musketeers and promise a mother her son will be kept safe. Constance's greediness to be a devoted servant sometimes stops her from being a needed friend.

Indeed, Constance's greed to be something **more,** often strangles her ability to provide true friendship.

She uses D'Artagnan's remorse about Marsac's actions to coerce him to teach her how to fight instead of simply asking as a friend. She wants to be a musketeer and she will not cease her dream. She insists on being involved in the plans and missions of the soldiers around her no matter what she claims otherwise, no matter how reckless or dangerous or unpermitted.

When the musketeers' must rescue baby Henri, Constance is the one who takes up the sword leaving Aramis to hold the baby. Literally. A woman with a handful of lessons and a few weeks of practice duels the hired mercenary instead of the decorated and highly skilled elite soldier. An extraordinary moment. A rush of pure exhilaration. And borne completely from foolish, greedy pride. Constance is greedy to prove herself, greedy to be a hero and she risks the lives of a child, a friend and herself to do so.

She desires to be beloved by the musketeers of all status and skill. It's her greed for influence that cajoles Minister Treville. It is her greed for adoration that mothers the young cadets. And it is Constance's ties to that regiment and garrison that makes her greedy for revenge when the Red Guard shames it, however childish her retribution is.

But Constance's greatest sin of greed is D'Artagnan. She lusts for him, craves his attention, confidence and esteem above all else. Even at the cost of others.

She is upset to learn the truth about Marsac. But her anger stems less from the dishonesty of the act and more from jealousy. She is envious that D'Artagnan chose to keep the confidence of a friend over confiding in her. To Constance's greed D'Artagnan chose Aramis over her. And she craves D'Artagnan's trust particularly in their early acquaintance, regularly commenting that he doesn't trust her because he does not divulge all of his duties and assignments and schemes to her. Ones that involve state secrets and delicate matters and must be withheld even from those who can be trusted. She doesn't think what she is asking him to risk, to do, to forfeit. She wants D'Artagnan's reliance even if it's at the expense of his relationship with the musketeers.

Her greed makes her jealous of Milady. Her judgement is right but so vibrantly coloured it falls to deaf ears when she voices it.

When D'Artagnan confesses his feelings, Constance is greedy for them. His feelings, his words, his touch. She drinks them in and demands more. She craves them all. It is her greed to be with him that gives her away to her husband and when he confronts her she shows her greed once more.

She refuses to give him up at her husband's request. Up until that point Bonacieux has done little to deserve such treatment. He is far from an ideal husband of course. Absent and dismissive, pompous and officious. But he has not been cruel or cold to Constance. He buys her gifts when he thinks they will be more successful, trusts her to run his shop while he is away, attempts to protect her when he believes D'Artagnan is a dangerous fugitive. Bonacieux's greatest crime as a husband up to that moment is to be a man of his time.

But Constance wants more. She fails to think of Jacques' humiliation or hurt. She pawns their wedding gifts to raise money for her lover, betrays her marriage vows under her husband's roof carries on the affair openly before and after so that he cannot but hear of it. The entire world knows of it and her cuckolded husband means nothing to Constance in her greed.

She ends the relationship, first to save D'Artagnan's life and then because the cost is too high. Constance craves the respectability that such a scandal would destroy. Her avarice causes her reluctance to risk bastards that she has no money for. She keeps the house she inherited empty for years when so many in Paris are homeless.

And still her greediness remains. Constance's greed ensures she will not release her musketeer not even for the sake of others. She is jealous when she spots him with Lucie De Foix. She repeatedly puts aside all her justifiable and sensible concerns in an instant to restart the affair in the most public way possible. All respect to her (soon-to-be-late) husband be damned.

She can fight her greed to be a better friend to the queen, she can fight her avarice to be a reliable ally of the musketeers, but she cannot fight her greed for D'Artagnan and she will not let anything spoil it, not even the possibility of being a widowed mother to a fatherless child.

It is not selfish for a woman to not want a child. It is selfish to make that choice on behalf of your spouse. And Constance does. She never discusses the topic with D'Artagnan. Her greed does not let her.

Constance is greedy for the life that she wants, no matter what.

**Notes for the Chapter:**

> If you think Constance is a different kind of sinner let me know which and why.  
> Next sin is Lust. Just a reminder that I can be encouraged to post early;).


	19. Lust: Aramis

**Notes for the Chapter:**

> Apologies for the time between posts I got caught up with things.

* * *

 

 **Lust** is a strong emotion or feeling. The lust can take any form such as the lust for sex, lust for expensive objects (extravagance) or the lust for power. It can take such mundane forms as the lust for food as distinct from the need for food. Lust is a psychological force producing intense wanting for an object, or circumstance fulfilling the emotion.

"She's a very attractive woman." – Aramis (about Queen Anne), _Sleight of Hand_

* * *

To say that lust is Aramis' greatest sin will surprise no one, least of all Aramis. We are only human after all and what is life without a little joy.

And that is Aramis' greatest yearning, to find the joy in life. He acknowledges it. He's easily seduced by pleasure, readily tempted by his own desires.

Aramis lusts for women, for violence, for adventure, for enjoyment, for fulfilment, for life.

His vice is temptation and desire. Indulgence, seduction and pleasure. He charms any woman he encounters. Nun or mistress. Serving wench or queen. He does not discriminate only takes pleasure where it is offered.

He does not force or harm but he still courts danger, still flirts with temptation, still invites sin.

Aramis lusts as both soldier and man.

He doesn't deny his bloodlust even as he denounces violence and war, not to his brothers or to God. He gets restless after only a few days of quiet. It's a battle against Grimaud that convinces him God made him a musketeer not a monk. He admits to D'Artagnan it's what he lives for, it's what makes him feel alive.

Aramis is a contradiction. He sincerely wants peace for the honest and the innocent. He does not want good people hurt. But one need only look at his exhilaration during a fight to know his bloodlust. However, much Aramis may pray for his opponents he's better at dispatching them to hell than putting down his sword. His lust for danger, violence and adventure is far too strong, he cannot fight it.

It is the lust for his life as a musketeer, his desire to do battle beside his brothers that leaves him restless and dissatisfied with life as a monk. A state that the Abbot notices and refuses to let Aramis take his orders because Aramis cannot yet renounce his desires. And it is the temptation of the musketeer's calling that troubles Aramis. He renounced his duty in exchange for the lives of the queen and the dauphin, but he cannot stop the yearning for that life.

His friends query if his relationship with Adele is based on love for Adele or love for taking the cardinal's mistress. Aramis does not deny it though not in the way that they mean, for one compliments the other.

It is not greed or envy or wrath that makes Aramis pursue a woman even if there is already another man but desire for the woman herself. More importantly a desire that the woman wants to be with him. A lust for love.

It is a lust for his first love Isabelle and her realisation of his lust for adventure that sets him on his true path to Paris.

Sylvie easily plays him because of his lust. Aramis knows it's a trick and she is not truly what he wants. But his lust is greater than his sense in moments such as these.

And it is because he does not fight that lust, that leads to tragedies Aramis does not want.

It is not Aramis' lust for flesh or blood that lead to heartache and destruction (though his vice may start there) but for life and for love. Most of all it is his wish for a family, a wife and children that cause so much pain.

His lust for the pleasure of Adele's attention and affection leaves him caught off guard by the cardinal. A temporary, almost unnoticeable moment that leads to death.

His dream of a family causes him to risk everything for Agnes and Henri.

He falls to temptation with his desire for Queen Anne. His lust and attraction to her ensures he does not take care of the lines that should not be crossed. He openly flirts with her after saving her life. When the queen's own desires and feelings are hinted he does little to detract them.

It is his own craving for comfort – and the queen's as well - that leads to their sleeping together. An act of high treason.

It is those same feelings that incite the reckless behaviour at Emilie's camp and the palace, giving themselves away to Constance and Richelieu.

And Aramis is not contrite, for the consequences and pain of his actions yes, but not the feelings that cause them. Because how can he be sorry for something that he considers an act of love. Indeed, it is not Aramis' love for Anne or their son that is the sin.

It is his wish for a life with them, for they are not Anne and little Louis and he is not Aramis. They are the queen and the dauphin, and he is a king's musketeer. And it is a sin for a soldier to lust for a life with the king's consort and heir no matter how pure the love there is.

It is that love and desire to be near them that causes his greatest lusts. And it is that lust that causes the worst of transgressions, for in his lust Aramis betrays those he holds most dear.

It is Aramis' lust to know his son that leads to him seducing Lady Marguerite. And the vice that was the least harmful becomes the most malevolent. Poor Marguerite is cruelly abused because of lust and its fatal cost. She is targeted by Aramis' lust to be a father, caught by her lust to be loved and trapped by Rochefort's lust for power and queen.

But Marguerite was not the only victim though she pays the highest price. Marguerite dies ashamed and desperate. Constance is nearly beheaded, and Lemay is murdered on false charges. These are some of the casualties.

Because of his lust for a life with Anne and their child, his yearn to see them and touch them, lead to actions and decisions that directly endanger them. It is his longing to see his son and his pining for the queen that leads to doubt and misgivings. Aramis' yearning makes him careless and both are put under suspicion and threatened because of Aramis' rashness. It is because of Aramis' treasonous lust that Anne confronts exile and execution and their beloved little boy faces death and disownment. Aramis' lust is the reason that he breaks his vow to ensure their safety and endangers those he cherishes most.

His friends' honour and duty are compromised by Aramis' lust-fuelled treason, however unintentional. Athos faces the noose because of his knowledge. Porthos is injured and captured because of Aramis' distraction and worry for his ill son. D'Artagnan almost loses the woman he loves. Treville must lie to his beloved king.

It is not just his friends and family that suffer from Aramis' sins. It is Aramis himself. Aramis too is scarred by his lust. For not only did he betray his loved ones and those he swore to protect but he also betrayed himself.

His self-imposed exile to atone for his sins is done for penance not treatment.

His desire to be closer to his son, led him to seduce the child's governess. A good, kind woman but one who Aramis had no interest in or desire for. And he used her.

The famous libertine who cherishes women and acknowledges them to be the superior sex, the man who insists in chivalry and holds women in high esteem in their own right, callously manipulates one and then discards her. While he admits to not loving her, he does nothing to dissuade her of her own.

Aramis may not have loved every woman he charms but he has always been honest and respectful in his feelings, considered it an important part of himself and his morality. And he betrays that part of himself as severely as he betrays Marguerite.

His lust to be with the ones that hold his heart overpowers the love, integrity and respect for others that he holds so dear in himself.

Lust causes Aramis to weaken his brotherhood, to endanger those he protects and to betray himself.

_Isabel._

_Adele._

_Marguerite._

All of them died for Aramis' lust.

_Family._

_Friends._

_Self._

All of them suffered because Aramis is doomed to always want the things he cannot have.

**Notes for the Chapter:**

> I had a bit of trouble deciding on the best quote but since that's when most of the trouble started it seemed appropriate.


	20. Pride: Treville

**Notes for the Chapter:**

> Here's the next one. Enjoy.

* * *

**Pride:** it is irrationally believing that one is essentially and necessarily better, superior, or more important than others, failing to acknowledge the accomplishments of others, and excessive admiration of the personal image or self (especially forgetting one's own lack of divinity, and refusing to acknowledge one's own limits, faults, or wrongs as a human being).

"It's a stain on my honour. One which I can never get back." -Treville, _The Prodigal Son_

* * *

Treville's greatest sin is not pride, but ironically his lack of it.

He has moments of pride of course, it is his vice. His honour is his greatest ally and his greatest enemy. It is pride in his honour that he acts with, and pride in maintaining his honour that influences his choices and his actions. And it is in maintaining that honour that his greatest crimes occur.

He takes pride in being an honest soldier not a double-dealing politician. And that is why he declines King Louis' initial offer to appoint him Minister and a madman gains power.

It is pride in his former role as a man of action rather than words that fuels his later rebellion against his ministry position. He sneaks out with Constance in the middle of the night to avenge his former regiment. He goes to speak to the war veterans as a former soldier, but his pride does not let him foresee that they will only see him as a minister now. The price for that pride is the capture and ransoming of both himself and Porthos.

He has pride in his role as captain and a competent servant of the crown and it is why he commands the reluctant Aramis to infiltrate the camp of Emilie of Duran.

It is pride in his own talents and those of his men that ensure he does not take more care in escorting the Ambassador Perales. His pride in being assigned the task and the temptation of receiving important and valuable information from the Spaniard makes him careless. He relies on Rochefort's note and orders instead of ensuring the arrangements himself. He takes only trusted favourites instead of a larger party of men. Perales is assassinated, and his secrets die with him.

It is pride in his men that leads him to accepting the challenge against the Red Guards. Pride and shame that accepts the role of champion against LeBarge. Love and shame that keeps him silent in the face of his men's disappointment. And D'Artagnan is left to question his hopes of justice and a future as a musketeer because Treville is too proud to confide in his men. Too proud to risk them for his pride.

It is pride that helps him maintain his composure when he is deprived of his captaincy and pride that has him disgusted at being used as messenger by Rochefort. It is that pride that helps increase his estrangement to the king and queen.

It is pride in his protegees that dictate his high standards and demands for them. And pride that makes disappointment so much harder and anger so much stronger when they fail. He rails at Athos for acting more as a regular musketeer than a proper captain. Disappointed that he is not the captain Treville expected. Disappointed that he cannot take greater pride in the man he groomed as successor.

His determination is temporarily lost when he discovers Aramis' affair with the queen. And anger flares from time to time. A constant reminder that the soldiers he trained are not without criticism. That _**he**_ as their captain and mentor is not without criticism.

It is pride as a confidante to king Louis that buys his silence on the king's illness and keeps him from warning Athos of the full extent of the danger that Gaston poses. And it is that inaudible pride that facilitates the escape of a usurper to figurehead an army to Paris and endanger the king's most prized treasure.

There is no pride at being appointed regent, for Treville takes no pride in being a politician. He knows the truth. There is no pride in something that was not gifted as reward for himself, but given to punish another. But Treville prides himself on being Louis' most trusted and competent servant. Louis appointed _**him**_. And it is pride in that, that drives Treville to take the boy-king and that same pride in being the man who will save France and her monarch that ensures the refusal to allow the queen knowledge of her son.

That same pride is what leads to him entering an enemy camp with only one man. What starts as a chess game ends in a hostage situation and Treville's own death.

But it is where Treville feels shame not pride in his honour, that his darkest transgressions lie.

He is ashamed understandably of his part in the massacre of Savoy. He lost twenty good, honourable men that day, and almost two more five years later (one was saved, the other had been lost long before). It is shame from guilt and remorse at following the scheme of Richelieu, even on orders from the king. But he never explains it. When his men come with questions, when _**Aramis**_ comes to reconcile the truth, he orders them away, berates them and refuses to explain. Because he is ashamed.

Because he cannot take pride in his actions. He attempts to save face even when it becomes increasingly impossible to do so. Even when he has a reason, if not a justification. He refuses to speak out because of his pride and when he finally does so it is too late.

One of his former men is now dead at the hand of a man who considered him a friend. Marsac leaves a troubled world with only the barest peace of mind and Aramis is further wounded by the memory of the slaughter and the loss of another brother, another loved one.

When Porthos comes looking for answers about his father, Treville once again chooses silence. A large part is because he loves Porthos as his own and he wants to protect him from knowing the truth about the kind of man his father was. But an equally large part is because it is another stain on his honour he cannot remove.

His refusal and stubbornness to discuss any of Porthos' questions no matter how innocuous, breed tension in the otherwise good-humoured soldier. Porthos becomes distant and suspicious and angry. He starts to doubt Treville's word, his character, his opinion. Porthos even starts to question if his own talent and hard-work were what made his career or if the commission was to assuage Treville's guilt.

The rest of the regiment are horrified by the implication of course. It is completely unjustified in their eyes. But because of Treville's attempt to hide his damaged pride, Porthos loses his. And it makes him vulnerable to Belgard's machinations.

In trying to regain his honour and hide his disgrace, Treville nearly ensures that what he wishes to avoid most, in fact comes to pass.

For Treville values his honour most of all. It is his pride and his downfall.

* * *

 

 

**Notes for the Chapter:**

> Next up is Sloth.  
> As always let me know if you agree or who/ what you would have picked.


	21. Sloth: Athos

**Notes for the Chapter:**

> This one turned out to be … divisive.

 

* * *

**Sloth** refers to a peculiar jumble of notions, dating from antiquity and including mental, spiritual, pathological, and physical states. It may be defined as absence of interest or habitual disinclination to exertion. The sin of Despair was classified under this because to despair is to give up. Early papal creeds against the sin mostly classified it as knowing the right thing and failing to do it.

"I left this place." – Athos, _The Return_

* * *

Athos' greatest sin is sloth. It's the last one most guess. Surely gluttony would be more suitable for a man prone to the call of the bottle and other addictions. Maybe greed would be more appropriate for a noble man. Or perhaps lust, after all what else could make a man willingly marry a woman he never knew the true character of. Or wrath, like the one he showed that same wife. A man who values his honour so greatly must have pride. And one of such misery must look upon his friends' happiness with envy.

But sloth is Athos' greatest sin as odd as it seems. After all, how could an honourable, reliable, respected musketeer and the greatest swordsman in France be considered lazy. But Athos' sloth lies not in body but in mind. When Athos must make a choice, he does not make the choice himself but relies on the expectations of others, the unspoken moral code of chivalry and honour to make decisions for him. He resists taking responsibilities for decisions of his own choosing and facing the consequences of acting for himself.

It is most prominent in his execution of his wife. He does not consider her pleas or hold a trial. He judges the facts on his dead brother and because 'honour demands it' he has her ordered to hang within moments. Without a chance to defend herself. Because he cannot question the supposed clarity of murder. He gives the command and recedes immediately. Milady calls him out on not staying to see it through.

And he doesn't. He flees Pinon and renounces the title of Comte, instead drinking his demons away so that he does not have to think and wonder. Carrying out the commands of Treville and the duty of the king. It is their choices, their orders, their decisions that he follows.

Athos does not like dealing with things that cannot be firmly decided through the code of honour. More importantly he does not like making decisions between head and heart. It is this fault, this sloth, this reluctance to face his feelings and thoughts and wants that lead to his greatest failings.

He gives in to despair and desperation. He tries to drink himself into an early grave or meet his end in honourable battle. Either is better than facing his past and his feelings of it.

Athos proclaims head over heart because head is logical and reasonable, and its decisions are based on such. Heart is irrational and illogical. Its judgement relies solely on one's own emotions and conscience. It is this reluctance to reflect and learn spiritually and emotionally and to understand and embrace his deepest longings and wishes that render him unable to deal with those of others.

He holds Aramis at gunpoint for a mission instead of dealing with the marksman's need to help a friend. He warns the medic away from the queen and the dauphin rather than try to understand his friend's inner turmoil. When the dauphin is ill, Athos points Aramis to duty without ever inquiring to his state of mind and tragedy follows in the wake. If Athos had pulled Aramis aside and talked to him about his troubles and conflicts, the outcome likely would have remained the same, but the trauma and pain that arises might be softened.

He leaves D'Artagnan to himself after his shooting of Borrell. The lad's crisis of conscience is too much for Athos to face and so the captain leaves the younger man to it, running off to indulge his own escape and demons than help his troubled brother.

He leaves Aramis and D'Artagnan to help Porthos fight his demons with Bonaire, only a caution to watch the large man before he is swallowed by his own ghosts. And then he refuses to admit the threat, trouble or temptation of his ex-wife to his friends or resolve his conflict until the situation forces him to.

He follows Treville's orders to take the boy-king. Instead of reassuring the distraught queen of her only child's safety he leaves her suffering with silence and then includes Constance in the betrayal. It is the former lady-in-waiting who must make the decision to reassure the queen because of Athos' reluctance to reject an order.

He ignores the plight of the people of Pinon refusing to read their letters. Even after they become desperate enough to kidnap him, he remains deaf to their pleas. Instead he remonstrates them for forcing him to return and does not take their warnings about Baron Renard to heart until he is given no other choice. Because his friends demand that he do so, because honour demands it, not because Athos chooses it (at least at first). When Renard is defeated he renounces his responsibility once more turning over the lands to the peasants he failed and refused to protect.

His refusal to consider the motives of those around him, leaves him ignorant of Catherine's true nature and entitled mindset, and blind to the danger she poses when he dashes her hopes and reveals Milady's survival.

It is not just the effect of his actions towards others, Athos is reluctant to contemplate but also on himself.

When he is torn between his feelings for Milady on her return and troubled by their past, Athos ignores the situation until he is forced to. And when he is, he refuses to deal with the matter. He absconds from his duty to escort the king to Marmion's fort even though others present suffer similar emotional turmoil.

He repeatedly rejects anything she says or any help she might be able to give. When she alerts them to Marmion's imprisonment of the king, Athos focuses only on her previous lies. When she offers to sell information, he rejects her request for payment unwilling or unable to see the need for pride and the desire to help behind it.

His acceptance of her help and his excuse for saving her life are in the service of France's safety instead of acknowledging his own conflicted feelings.

He allows Treville to steer him towards captaincy instead of ensuring he makes it to Milady's side. The delay costs him the chance to convince her to stay or to leave with her, and four years of regret.

It is the same with Sylvie. Athos wavers back and forth in his feelings for her. Longing. Attraction. Esteem. Desire.

The musketeer captain involved with a seditionist. He uses it whenever it's convenient. A musketeer captain can't betray his duty like that. Just as he shouldn't be indulging in ride-outs with his men. Prioritising standard soldier work over the responsibilities and necessities a captain alone must perform. Treville chastises him for it but Athos does not make the choice, cannot pick one over the other.

Even his own decision to leave the musketeers and start a life with Sylvie is indirectly made through sloth. He unconsciously chooses Sylvie over the returned Milady that is true. However, Athos doesn't fully commit himself to her until he learns of her pregnancy and the Inseparables are no more. Treville is dead. Porthos has a career and family of his own. Aramis belongs to the palace as Treville's successor to king and country. D'Artagnan is the one destined for future hope, renewal and captaincy.

And Athos leaves with Sylvie because what else is expected of a father but to settle down with his family as a husband and patriarch. It is the honourable thing to do. And it is the slothful thing to do.

**Notes for the Chapter:**

> Wrath will be up next and then it's back to virtues.


	22. Wrath: D'Artagnan

**Notes for the Chapter:**

> See reviews make me update quicker:) Thanks to everyone who left kudos, it's much appreciated. And thanks to theredwagon and lettersfromnowehere for their lovely reviews.

* * *

 

**Wrath:** Uncontrolled feelings of anger, rage, and even hatred. Wrath often reveals itself in the wish to seek vengeance.

"Fight me, or die on your knees. I don't care which." – D'Artagnan, _Friends and Enemies_

* * *

D'Artagnan's greatest sin is wrath. It is fuelled by a mix of pride, envy, greed, lust, sloth and gluttony. For a hot-blooded, impulsive young man will always find such temptations the hardest to resist. But for D'Artagnan wrath is the vice that he cannot fight.

D'Artagnan's temper is as explosive as a musket, as sharp as a sword and as dangerous as the man who wields it.

When wrath takes a hold of D'Artagnan it grips him tightly and will not let him go. It will not let him think, it will not let him forgive. D'Artagnan's wrath demands blood and misery and vengeance and it will not be sated until it tastes it. It does not matter if it is friend or foe, his wrath does not differentiate, and none escape its intensity.

When his father is murdered D'Artagnan vows vengeance. That anger drives him to duel three musketeers at once while injured. It is the men's sense and noble characters and Constance's intervention that prevent more damage being caused. Even when D'Artagnan comes to believe that Athos is not responsible, his bloodthrist nearly condemns the older man anyway. D'Artagnan rushes into the fray determined to kill the one responsible. It loses the surprise advantage of their plan, forces Constance to kill a man and nearly costs Porthos and Aramis their lives. It is only through greater skill and the discovery of the late musketeers' uniforms that they succeed in their task.

D'Artagnan's anger nearly cost him his career as a musketeer before it even started and it happens again and again.

LaBarge's destruction of his farm sends D'Artagnan into a fury. He confronts the cardinal demanding justice and is too upset to properly make his case to the man. He attacks LaBarge and is nearly killed for his impetuousness. When he argues with Treville over the Red Guard challenge his simmering fury only supports Treville's assessment of his unsuitability for soldiering.

Heart over head. That is his greatest weakness as both musketeer and man. He lets his emotions override his thoughts. He speaks before he thinks. And when his wrath takes hold, there is no mercy from anyone.

When the musketeers take Queen Anne from the palace to protect her from Rochefort, D'Artagnan fixes on Constance remaining behind. It is that worry that drives his demand to return. He angrily argues with Porthos and Aramis in front of her majesty, calling them cowards. He unthinkingly pressures the troubled young queen further and influences her resolve to return despite the risk it poses.

After Constance is nearly executed D'Artagnan's wrath grows. He demands Rochefort's death for himself. That is his primary concern. Not breaking the man's hold on the king or protecting France from a Spanish spy. Not even justice for the death of Lemay but vengeance for the wrongs D'Artagnan holds him accountable for and a yearning to sentence the man himself.

It is a continuous desire for D'Artagnan. His wrath demanding revenge. As soon as he realises the trouble Marchaux has given Constance he sees red. Demanding information from Constance and threatening the man's end. He ignores the fact that Constance is perfectly capable of defending herself and his behaviour is upsetting her, more than the other captain's manner. His anger blinds him to it.

By the time he does come to duel the red guard captain D'Artagnan has already declared that his death 'will not be honourable'. Indeed, he brutalises the other man even when the former red guard has been disarmed and poses little threat. D'Artagnan beats him with a chain, strangles him and then pushes him to his death. Marchaux deserves harsh punishment for the misery and death he has caused but it costs D'Artagnan something that he has valued in himself. His honour.

But if men like Rochefort and Marchaux deserve his wrath and musketeers like Athos, Porthos and Aramis can defend themselves from it what about those who are neither.

The Bonacieuxes often receive D'Artagnan's wrath, justified or not.

When D'Artagnan and Constance embark on their affair, D'Artagnan spares no thought for the man whose wife he is sleeping with. He lives in the man's home despite being late on rent, and doesn't think twice about taking up with the man's wife. In fact, he is angry when he believes Bonacieux is the reason Constance ends the relationship and vents on the trapped Constance.

He promises to kill Bonacieux when he hits Constance. A natural reaction, even a justifiable one. But D'Artagnan never thinks to Bonacieux's feelings or respects Constance's desire to decide how to handle the matter herself, or even her wishes for her marriage. His desire for Constance and his anger at Bonacieux's interference cause him to hesitate to save the man. After he dies D'Artagnan has no remorse over it despite his indirect involvement in his murder. Instead he states he's glad that Bonacieux is dead and lashes out at a conflicted Constance.

A lot of D'Artagnan's wrath is unleashed on his loved ones. When Constance initially ends their affair, he is incensed. He coldly removes himself from the Bonacieux house and bitterly comments about love to his friends when one in particular is considering the important choice of marriage.

His anger at Constance's actions and choices blinds him to her true feelings and reasons on the matter. Ones his friends easily see. The silent punishment and resentment makes it easy for Milady to have a worried Constance abducted for leverage.

When Constance catches him kissing Lucie DeFoix, D'Artagnan has no remorse or shame about it. Not for taking advantage of an obviously distraught Lucie or to a clearly upset Constance. He almost rubs it in her face. Punishment for her ending their affair.

When Constance gives her understandable and justifiable reasons for not being with him – that she would likely end up destitute, that their children would be bastards – D'Artagnan callously calls her a coward. Constance will not do as he wants and he reacts by taking his wrath out on her.

When she is reluctant to discuss her bloody lip or what problems Marchaux has been, he manhandles and remonstrates her until she tells him.

Her first husband's death causes her guilt. She is conflicted and requests a few weeks to grieve. D'Artagnan is irritated at the request, annoyed she will not immediately rekindle their relationship. When she tries to explain he harshly snaps that he may not be around when Constance makes up her mind. For the better part of two years he has loved Constance and when she requests a few weeks to make her peace with her past his furious pride allows no empathy or comfort for her.

Forgiveness.

Compassion.

Honour.

Obliterated in blinding rage.

When D'Artagnan's wrath takes hold, it consumes him. Heart and head.

**Notes for the Chapter:**

> That was the last chapter of our 'sins' series. We're now onto the Heavenly Virtues if anyone wants to guess contenders for those:)


	23. Kindness: Aramis

**Notes for the Chapter:**

> You'll all be pleased to know that we're back to our heroes virtues, so hopefully you'll enjoy this set after I slandered your favourites:)
> 
> Thanks to everyone who left kudos.

* * *

 

**Kindness:** Charity, compassion and friendship for its own sake. Empathy and trust without prejudice or resentment. Unselfish love and voluntary kindness without bias or spite. Having positive outlooks and cheerful demeanour; to inspire kindness in others. It is the opposite of Envy.

"She is a good woman, facing a horrendous death. I only wanted to comfort her." – Aramis, _A Rebellious Woman_

* * *

Aramis' greatest gift is his kindness.

It is his looks that get attention. It is his charm that attracts company. It is his skills that command admiration. It is his bravery that earns respect. It is his integrity that wins approval. But it is his kindness that gains trust.

It was through his empathy and discretion that he won over the prickly and untrusting Juliet. And it was Aramis' non-judgemental support at a revelation that aided in securing bonds and alliances to help save Athos and the nameless village.

It is Aramis' kindness and determination to reunite Agnes and Henri that allows the young widow to open up to him and trust him with her son. If not for her confidence in Aramis' kindness, the musketeers may never have succeeded as greatly as they did.

It is because he is a good man that Emilie of Duran trusts Aramis even though she knows his true motives. And it is Aramis' kind-hearted endeavours that make her see the truth even if his kindness cannot stop her heartbreak.

It is his kindness that marks him as a friend to all children. They flock to him, confide in him, depend upon him. Even as infants they are comforted with his kind presence, their protector and guardian.

It is Aramis' initial kindness, defence and aid that makes the terrified Camille take a leap of faith and confide in him and his fellow musketeers when the time comes.

It is through his kindness and compassion that Aramis does his greatest good as musketeer and man. It is what people love him for most.

He openly voices his support of women in general and Ninon in particular, defends them during the red guards' attack and publicly denounces the mock trial she is subjugated to. He temporarily relinquishes his beloved crucifix to the Comtesse De Laroqque because she is frightened for her future and he knows in that moment she needs it more than he does. It is a sacrifice, however small, performed from kindness and benevolence to someone who suffers. Comtesse and queen both note it.

After all it is kindness that turns Constance's disgusted scorn into sisterly affection. When he comforts her through the tribulations of her relationship with D'Artagnan and gallantly takes the blame for her reproaches in front of her husband. It is this altruism that convinced Constance that he is a good man rather than the frivolous, indifferent rake she initially believes him to be.

He promises Sylvie justice for the murdered Clementine and helps her grieve for her father. Actions that those less kind would never think to do.

It is Aramis' empathy that causes him to reassure D'Artagnan about his actions towards Borrell even knowing that that very choice has endangered the woman and child Aramis loves but he is too kind to blame the younger man for a well-intentioned mistake.

It is that humanity that ensures he defends Porthos against slurs and abuse against his upbringing and heritage even amongst his own friends. It is Aramis' gentle understanding that causes Porthos to choose him as his companion to meet his father. Kindness that accepts Porthos' anger over his departure and readily forgives and forgets at the chance to make amends.

It is kindness that guides Aramis' interactions with Athos. He encourages Athos in his feelings for Ninon and Sylvie, reminds the older man that disagreements and defiance are not always seeped in deceptions and betrayals because he only wants Athos' happiness and they are good women. It is kindness that prompts him to remind Athos that the evils of the world do not fall solely at his feet. And it is because of Aramis' kindness that he is the musketeer most willing to forgive and accept Milady and Athos' forgiveness of her. He is the one who urges Athos to leave the woman to the authorities and not kill her because it would not help Athos or anyone else to condemn her so now. And Athos loves him and is grateful to him for it.

It is compassion that he shelters an old friend turned fugitive when he returns. Benevolence that argues with Marsac to save Treville after learning of the man's betrayal and kindness and respect that he deliberately calls him by title despite Treville's stripped captaincy.

It is that consideration that causes him to take up the recitation of prayers for the deceased veterans when their friends no longer can. And empathy that ensures he sees the cadets' fear during a siege and reminds them that '"a musketeer is never alone"' when they most need to hear it. Two of his friends are captured and Aramis still takes the time to notice a cadet's unease and bolster spirits where needed.

Queen Anne's attraction is sparked by his bravery, but it is his kindness that sustains it. It is not only his heroic rescue that earns her notice but the gentle comfort he offers when she is left terrified by the attack. Indeed, she recognises his kindness as often as she does his bravery. He valiantly protects her from assassins but also offers her distractions, reassurance and tasks, to divert her from the situation where possible. He bluntly informs her of Louis' impending death and simultaneously consoles and supports her. He scolds her moments after defending their son and then provides solace that they will be safe. As Anne comments, Aramis' compassion does him credit.

But it is not just loved ones and innocents that receive Aramis' kindness it is his foes as well.

He fights to save the Cardinal's life despite the grief the man has caused him and prays for his soul after his death. It is ingrained kindness that prompts him to mercifully close Rochefort's eyes despite the pain he instigated. He sympathises with King Louis' impending death even as he vehemently rebukes him for his hypocrisy and ill-treatment towards the queen.

It was the comtesse that called him a contradiction and she was right.

He is a trained soldier after all, skilled with a sword and famed for his aim. A fighter who has killed. A warrior who loves battle. What would a man like that, handsome, charming and gifted, ruthless and dangerous be, without kindness?

He doesn't hesitate to shoot a man he believes has murdered a child. He fights his friends for the sake of another. He rails against captain, minister and king without a second thought and defends them with his life in his next breath.

An unapologetic killer and soldier who prays for his opponents and is capable of great empathy and remorse. For Aramis is a kind compassionate man, who won't hesitate to ruthlessly target anyone who threatens an innocent.

A devout disciple who'll damn himself to hell for others unfairly treated.

Kindness is such a small, simple thing but it has such power, such force. It can stop a man from taking what he wants from others because he can and instead empathise with their feelings of such a loss.

Kindness can make a man fight for others instead of fighting solely for himself.

For Aramis is brave. And honourable. And kind.

**Notes for the Chapter:**

> Well that's the first chapter in our final set. As always please send me your thoughts.


	24. Temperance: Athos

**Notes for the Chapter:**

> And here's the next chapter of virtues.

* * *

**Temperance** : Being controlled in self. Restraint, temperance, justice. Constant mindfulness of others and one's surroundings; practicing self-control, abstention, moderation and deferred gratification. It is the opposite of Gluttony.

 _"_ You have natural talent, but too often you let your emotions run away with you, talent won't keep you alive if you let your heart rule your head. _"_ – Athos, _The Challenge_

* * *

Temperance is Athos' greatest virtue. An odd virtue to credit to a man known for drowning in his cups, but that is what Athos possesses.

Demons and alcohol aside, Athos is the model of moderation. It takes temperance and self-discipline to be the best swordsman in France. And moderation and patience to become a respected and rational Lieutenant. After all is he not called stoic? Is he not considered the calm and logical leader of the Inseparables, Captain Treville's composed and reliable second-in-command?

Athos shows temperance in everything he does. When an impetuous D'Artagnan storms into the Garrison demanding a duel, Athos first tries to convince the young man of his innocence. When that fails, he engages in the duel, but Athos is careful, restrained. He continues trying to reason with the reckless youth, but he also takes care not to hurt the boy.

He reminds Porthos of his need to control his actions when dealing with Bonaire. Athos is as disgusted as the other men, but it is not a crime. They can't punish the slave trader for it and their duty comes first. Because of Athos' temperance they do their duty regarding Bonaire and because of Athos' calm mind, justice for Porthos and his kin is obtained when they secretly hand him over to the Spanish.

He attempts to keep Aramis away from the queen and the dauphin, reminding him of the need for restraint and abstinence, of the dangers for all if he is too near.

He cautions D'Artagnan when the latter is undercover attempting to discover Vadim's scheme. The boy is not a musketeer after all. He needs to find information not act the hero. Head over heart.

It is Athos' temperance that make him such a steadfast leader and why his friends turn to him in moments of trouble. It is Athos who stays self-composed and prudent when Marsac returns and the Duke of Savoy arrives, despite both men pushing for reactions. As much as Athos wishes to obtain vengeance for the loss of the twenty men, his temperance keeps him from committing irredeemable damage and causing all-out war, however much he wishes. No matter how close he comes. It is temperance that stays Athos' sword during the duel with the Duke. The anger tempts him, justice calls to him, but temperance controls his actions. Temperance that keeps him from tipping his hand at the evidence of the scar. It is Athos who cautions Aramis during his investigation pointing out the dangers and difficulties with knowing the answers he might find. And Athos who remains the calmest and level-headed as the suspicions surrounding Treville swirl.

He tries to instil the importance of temperance in the impulsive and impetuous D'Artagnan, warning the younger man not to be so quick to act on his emotions. It is a lesson the young man needs to learn to avoid an early death and Athos unwearyingly teaches him no matter how long it takes. When D'Artagnan ignores the warning, and confronts LaBarge in his cell, it is Athos' prudence that saves the cadet. Repeatedly he reminds him of the need to prevent love over duty and warns him of the risks of letting his concern for his cousin endanger their mission to rescue Aramis and stop Grimaud and potentially endanger them all.

It is temperance that he faces skilled soldiers like Gallagher and Alaman without hesitation or anxiety. Temperance that ensures he barely reacts when Sylvie holds him at gunpoint or men like Renard try to kill him.

Temperance that he ventures into death traps like the Court of Miracles or a Spanish prison without batting an eye.

Temperance encourages Captain Treville to act more politically when Rochefort tries to make him an errand boy and strengthen his relationship with the queen rather than be rebellious to the counsellor.

It is with temperance that he calmly notes Aramis' disappearances to deal with later, rather than become emotionally troubled when it is unsuitable. And temperance that ensures he controls himself when the situation calls for it. It does not matter that his brothers are endangered. When Dujon holds Porthos at gunpoint, D'Artagnan is abducted by slavers or he, Aramis and the Mother Superior are all that stand between Queen Anne and death, Athos is temperate. Because becoming emotional will not help. A cool head is more helpful than a hot-blooded heart at such times.

It is temperance that pushes Athos to keep going when things are hard. When his brothers' fates lie in uncertainty, when the king has been poisoned and Rochefort has succeeded in power and all hope seems lost, Athos' mindfulness, moderation and prudence is what helps carry his friends through their mission and continue their duty.

He does not panic or become blinded by emotion. He remains as serene as possible, mindful. It is Athos' ability to keep a clear head and calm manner that saves lives.

It is that same temperance that pushes him to move past events when needed no matter how painful. Temperance that accepted the impossibility of a life with Milady however much wished. Innate temperance that helped curb his drinking and help Emilie through her own detox.

It takes a lot for Athos to lose his temperance and when he does it is in extreme circumstances. He is furious when he discovers Aramis after his night with the queen. The man's usual calm and self-control remains long enough to remove himself from Her Majesty's presence. It is only the underlying, engrained temperance in Athos that manages to keep the discovery from going further.

And he loses his temperance in Milady's presence. His usual ability for deferred gratification is gone, he kisses her in Rochefort's closet and his own office. And falls apart each time. Awash in excess emotion.

But it is only for a moment. A brief lapse. There for a split-second and gone the next. Control and self-discipline reassert re-emerges, and Athos is restrained and moderate once again, focused on the task at hand, a calm head when all others are losing theirs. The needs of others outweighing the needs of Athos.

For a good soldier is never out of control and temperate Athos is one of the best.

**Notes for the Chapter:**

> As always if anyone wants to leave their thoughts feel free.


	25. Charity: Anne

**Notes for the Chapter:**

> So I accidentally labelled the last chapter as one for Treville. Sorry it should have been Athos. I've updated now, along with posting this next chapter.
> 
> Enjoy

* * *

**Charity** : Being Generous Towards Others. A willingness, or even desire, to help others and better the world, no matter the cost to your personal self. The path of a graceful and noble spirit. It is the opposite of Greed.

"Mercy is more effective than any whip or gallows." – Queen Anne, _Sleight of Hand_

* * *

Anne's greatest virtue as both a woman and a queen is her charity. She cares for people, she wants to help them, be they her family, her subjects or her friends. When others demand retribution and punishment or react at court with harsh words and angry tones, Queen Anne urges peace and perseverance, encourages love, forgiveness and mercy.

The people of France don't know how lucky they are to have such a gift, for charity in a monarch is a precious thing. It is all too rare and valuable. It should be cherished and rejoiced. Far too easily and too often it is absent, and the people feel the rule of something else.

A minster like the cardinal who'll sacrifice those he condemns as meaningless for what he considers the greater good, be they inconvenient widows and infants, rebellious women or unfortunate street waifs.

A governor like Feron who abuses his power and indulges in terrorising and bullying those in his domain, making cellmates of the innocent and the guilty.

Or a sovereign like Louis who holds no hatred for his country, only the apathy to care.

But Queen Anne cares. She is the epitome of a kind, gentle and gracious queen. Queen Anne thinks of others and she'll welcome everyone to her court be they princess or pauper, sovereign or seamstress because she is generous.

She regularly gives charity and advocates for her people. When she pardons prisoners and gifts them money for a new life she is genuinely compassionate and concerned by their physical appearance, worries that they '"look half dead, poor things."'

She'll meet with a woman who preaches hate for her family in an attempt to protect her countrymen from being unjustly slaughtered. She resolutely returns to the palace despite the danger because the people she cherishes need her there and she cares too much to abandon her son, king or country to vicious traitors just to protect herself.

When Constance talks of the terrible things she has seen with the war, Queen Anne is visibly distressed at realising the depth of their suffering. She worries for the poor French starving in the war-torn country and is upset at the nobility wasting money on extravagance and excess for a six-year-old's birthday.

She invites everyone in Paris to her son's blessing ceremony because she knows how important it is that a king have the love of the people. More importantly she knows a king should love his people.

Those that know her, know her tenderness and philanthropy. The Comtesse De Larroque specifically names her as a potential champion of women's liberation, calling her a 'woman of wisdom and kindness'.

Constance doesn't hesitate to engage her as a sponsor and patron to Sylvie and the other refugees. Constance believes in Queen Anne's goodness, regularly championing her charity to sceptics and common folk.

Aramis notes her kindness when Porthos questions his feelings.

Treville distinguishes her gentle heart even as he cautions her of it. The cardinal agrees that the queen is merciful.

King Louis recognises her altruism even though he thinks it foolish and cannot comprehend it.

Even Milady - self-serving, pragmatic Milady - acknowledges her majesty's '"weakness for charitable causes"'.

Because the queen is charitable. She promises to read the missive that the young Therese died for. She is the only one to worry about the fates of the young girls involved in the affair. All the other courtiers think only of the scandal and the politics and their own interests. She speaks in defence of Ninon against the accusations and intercedes in her trial to ensure her life is spared. And after that grand display of kindness Queen Anne performs a smaller but far more meaningful one. She offers Ninon her hand and helps the other woman to her feet. A small act but one that allows the Comtesse to regain her dignity as well as her life.

When they are held hostage and facing death with Marmion, Queen Anne does not chastise Marguerite for her fear. She is empathetic and admits her own in rapport but urges that they not show it, reminding the governess they have friends to help them and must be calm and brave until then. And when they hear their fellow courtiers' murders, Queen Anne consoles Marguerite and cries for their loss.

After awaking in the company of a mentally-ill man, Anne's instincts are to lure him to the empty gardens away from the crowded throne room filled with people he wants to hurt. It would mean safety for her but peril to others. She loves those there too much to risk them even if the cost is to endanger herself further. She tries to appeal to his compassion and end things peacefully as terrified as she is.

She encourages time to protect Count Mellendorf and his daughter against the charges of treason and insists on the release of Count Mellendorf at the first opportunity she has.

But perhaps the greatest shows of her charity is not those to her allies but those to her enemies.

She forgives those that hurt her, intentionally or not. Be it in a slight of word and gesture or authorisation for her death however reluctant.

She comforts a distraught Marie de Medici even though she does not trust her. She aids and defends Feron despite the conflict and suspicion between them.

When Emilie of Duran is accused of Perales' murder, Queen Anne comes to her defence. An "'angel of death'" with a "'gospel of hatred'". A woman who orates war against Anne's place of birth and slanders her brother as the devil. A woman responsible for the intimidation, persecution and brutal murders of Anne's own countrymen. A woman who had only recently held her hostage and threatened her with death. And Queen Anne defends her against the charges because she does not believe it to be in Emilie's nature and she is too kind to let an innocent woman be maligned no matter what she has done.

She grants Cardinal Richelieu forgiveness and freedom after his attempt on her life. It would be easy to strike against her enemy once and for all. Condemn him to death and be rid of his opposition. But it would break the king's heart and hurt France. Because while he may be _her_ enemy, he is not France's. She believes his loyalty and devotion to king and country. She is too benevolent to make France suffer for her own revenge.

But it is not just to her subjects as a queen, that Anne is charitable. She is caring towards her friends as a woman as well.

She treats Constance as an equal, and a sensible and intelligent companion. She openly and actively seeks and acknowledges Constance's advice and abilities. She praises Constance, thanks her for her help and apologises when Constance suffers in her service. When Constance wakes from a terrified nightmare in a camp that hates Spanish, Anne is immediately there to reassure her and doesn't hesitate to hug her. Never once does Anne treat her as less or throwaway when Anne is royalty and Constance is a mere tailor's wife.

But Anne gives Constance something even kinder. She gives Constance a friend. She supports Constance in her choice to love D'Artagnan and encourages Constance to be happy. She is a confidant to Constance's worries of war and widowhood. She listens to Constance's own feelings and acts as a counsellor to Constance as much as Constance acts as one for Anne. She cares for Constance's hopes and wishes as much as her own. She offers support, respect, and freedom to Constance that her marriages sometimes cannot, and her husbands' sometimes do not.

She champions Treville in his roles as captain, minister and advisor. She believes in his loyalty, honour and ability and reminds the king, the court and the captain himself of them when needed. When Treville is demoted Anne still treats him as the captain, even referring to him by title.

When her life is threatened by the mercenary Gallagher, Anne tries to be useful to the musketeers. She actively requests her share of tasks, runs errands to fetch shot and gunpowder, cooks fish to feed them, and collects sticks. She does not cry or complain or make unreasonable demands. She doesn't think of these men as soldiers existing only to obey her command and die in her stead. She sees them as brave, honourable men who are risking their lives to save her own and she does everything she can to help them because they are good men and she cares for them.

She is just as considerate towards the nuns who shelter her. She promises to reward their kindness and insists on helping them when they make their preparations. During the first gunfight she prays alongside them, as one of them and calls them by name even after a year has gone by.

Queen Anne is kind, compassionate and generous. Her naivety and innocence may be questioned but her charity never is.

**Notes for the Chapter:**

> Let me know what you think.


	26. Chastity: Treville

**Notes for the Chapter:**

> This chapter was the hardest of all. I've rewritten it at least three times. I'm still not happy with it, but anyway.

* * *

  **Chastity** : Being Unhindered by Worldly Desires. The ability to overcome temptation and show self-discipline. Note that the fulfilment of the virtue is not through lack of being tempted, but rather of making the conscious decision to better yourself rather than do what you know is morally wrong. Abstaining from sexual conduct according to one's state in life; the practice of courtly love and romantic friendship. Cleanliness through cultivated good health and hygiene, and maintained by refraining from intoxicants. To be honest with oneself, one's family, one's friends, and to all of humanity. Embracing of moral wholesomeness and achieving purity of thought-through education and betterment. The ability to refrain from being distracted and influenced by hostility, temptation or corruption. It is the opposite of Lust.

"We all have our duty Athos." – Treville, _Trial and Punishment_

* * *

It is a rarely stated but commonly understood truth that Jean Treville, first captain of the His Majesty's Musketeers, is in fact married. Not to a wife of course, for any wife would be so only in name and merely mistress to his true spouse. Jean Treville, former Captain of the Musketeers and Minister of France, is married to his country. A more devoted husband could not be found in all of Europe and he will remain chaste until his dying breath.

For Treville nothing is more important than the continuance of the crown and safety of the realm. He abstains from temptation. He has no romantic liaisons or affairs. He has no fondness for gold or silver, no weakness for wine or food, abnegates from luxury and extravagance.

He works hard to defend France. He trains his men in sword and musket, intelligence, skill and character. He instructs them in the bravery, honour and honesty of a musketeer by being brave, honourable and honest.

There are times when he is frustrated by the ignorance and corruption that he meets. Angered by the greed and lust and indifference that permeates it. He is surrounded by it. At times those demons call to him and try to tempt him to their vice. But they never succeed.

The hostility and duplicity of the French court do not sway him, he does not fall to their easy charms. He will not be seduced, threatened, bought, corrupted or swayed against France. She is his wife and partner. He has no other desires or ambitions but to do right by her and make her proud.

His only real attachments are to the Royal Family, Constance and his men. He cares for them as a father. These are the children of France and he will watch them grow. And he cultivates them, encourages them, teaches them as is his duty. He instils chastity and fidelity in them.

It is to France that his true loyalty lies, it is to France that he swore to love, honour, cherish and obey and he will never break that vow no matter the cost.

He will advise France as accurately and as honestly as he can. He will faithfully defend France from anyone who would try to harm her. He will make no decision of his own without first considering her.

It is their respective chastity, singleness and loyalty that convinces the cardinal to engage with him when circumstances demand it. It is because of that same chastity King Louis follows his advice when he is so inclined and why he still trusts Treville even when he's not. It is that same fidelity that inspires the Royal Council to appoint him regent. And it is that loyalty that sways Queen Anne to sign Gaston's pardon despite her fury, because she trusts Treville in his devotion and protection of France and her king.

He is loyal to the king because the king is France. He will deliver letters to Spain in secret to keep peace for France. He will co-operate with dishonourable, sly, men for France's safety. He will come and fight for France's protection even if he has been dismissed from his role. He will keep secrets and sort affairs. He will faithfully give his life for France's safety and freedom.

There is nothing Treville will not sacrifice for the good of that chastity. Companionship. Honour. Truth. Justice. Sword and musket. Comfort. His life.

Such is Treville's chastity that he refrains to take the role of minister when it is first offered. His temptation lies in the modest life he had, but the temptation of power for others is too great to risk. He is a soldier not a politician. He knows what he is to France, but he also realises what France needs him to be. He accepts the role of minister and greater power the second time. He understands what is needed and ensures he learns what must be done to fulfil the role.

Treville shows chastity in his decency, loyalty and probity. When the people of Pinon make their predicament known, Treville counsels them truthfully. They can sue for peace on the best terms they can get, or they can fight. He shows he is a true man of principle not only in this but when he asks them if their case is worth dying for. He is a man of dedication and devotion too, but if a cause is to be so defended than it should be knowingly and honourably done.

It is his integrity that trains the people of Pinon and inspires them to fight for their land and their France. Treville is a loyal spouse of France, he has quarrelled with her government and fought for her people. He knows the good and the bad. Marriage is rarely easy or smooth. Compromise and sacrifice is needed. Treville knows this.

He understands that France may speak angry words and make quick judgements. But he made a vow to France. In sickness and in health. In good times and bad. To love, honour and cherish. His fidelity will not waiver.

He tries to counsel the veterans of the war to review their conflict and attempts a reconciliation between them and France.

He answers the call for help when the royal family have been taken prisoner by Marmion even if France has rebuked him.

He will accept the role of lowly messenger of an engagement gift because France has asked him.

He will choose his fidelity and chastity to France over his own personal feelings.

He will raise his sons for war and whatever battleground France needs them. He will teach his daughters to lead, be it a garrison regiment or a country and council in conflict.

At one point he is tempted to leave Paris behind, in part for the betterment of the regiment, and in part to escape the humiliation of his lost captaincy but he doesn't. He stays and helps his queen, his king, his men and his country.

When Milady returns he engages her services to France, for France. She will never be more than a murderer and a spy. He will do what he can to stop her becoming mistress to Athos' duty. But she is skilled and resourceful and if she wishes for marriage then she can marry France.

He will always put France first.

Treville is an honest man. A faithful man, a decent man, a moral man, a virtuous man. A good man. He loves his country and its people. He believes in truth and loyalty. He keeps his word. And a long time ago he made a vow to love, honour and cherish the country of his birth and forsake all others. Treville meant those words and he spends everyday honouring that marriage. He practices monogamy and chastity to France with his last breath. For Treville promised France chastity until death do them part.

* * *

 

**Notes for the Chapter:**

> Next up is Humility.


	27. Humility: Constance

**Notes for the Chapter:**

> So I had accidentally forgotten about this story. (If anyone is still reading this, please remind me). Anyhoo here's the next chapter.

* * *

  **Humility** : Being Modest in Self. This virtue in its purest form is not self-hatred (a common mistake made by those with good intentions but self-esteem problems), but rather a sense of inner knowledge that one does not need to prove their greatness to the outside world to actually be great. Modest behaviour, selflessness, and the giving of respect. It is the opposite of Pride.

"Stop that. You're embarrassing me." – Constance (to D'Artagnan), _A Rebellious Woman_

* * *

Constance's greatest virtue is her humility. That isn't to say she thinks of herself less than others. Quite the opposite in fact. She knows her own worth and she'll accept nothing less for it, thank you very much.

Rather Constance promotes the needs of others above her own when needed.

This is seen most often in her interactions relating to the queen. Constance knows the pressures the young queen must shoulder. The political waters she must navigate. The burdens she carries.

Queen Anne must face many trials and challenges and Constance thinks of nothing but ways to offer her support and help the young monarch in any way she can.

She's barely been appointed before Constance is offering counsel when the king goes missing. She gives advice and support when the king takes a mistress, never once minimising or dismissing Anne's feelings but pointing out why Anne should not worry. When she seeks out D'Artagnan for answers as to Milady's true intentions, it is out of worry for the queen, not fear for herself, that prompts her.

She refuses to tell Rocheforte anything the queen tells her because Constance may be a confidant, but she has no right to judge who knows the queen's affairs. No one does but the queen herself.

When they are captured by Marmion, it is with the queen that Constance requests to be held. After all her place is at the queen's side. When Queen Anne expresses sorrow at the injury and abuse that Constance has suffered because of Constance's loyalty to her, Constance refutes it. Her only concern is that Queen Anne and her son are safe.

When the queen is forced to flee Constance volunteers to remain with the dauphin despite the risk.

The king dies, an army is coming, and they face enemies everywhere they look but Constance thinks of the queen and requests a visit to support her.

When she learns of the affair with Aramis, Constance never contemplates revealing it. It is the most valuable information in the country and Constance never once considers such a betrayal. Not even to save her own life.

But it is not only with the queen that Constance is humble. She will often think of others before herself.

She sympathises with the endangered and distraught Princess Louise instead of envying her for having D'Artagnan's protection and attention. The poor girl has far more important things to worry about than Constance's ridiculous and unnecessary jealousy.

Despite her initial differences with Lemay she is happy to bury the hatchet and become friends. And it is in part because of the humility of both parties. Lemay gallantly assigns all credit of the dauphin's recovery to Constance and freely takes the lesson to heart. Constance doesn't let injured pride stop her from gaining a new ally and respectful acquaintance and friend.

But even with her win, Constance doesn't think of herself as any better or more knowledgeable than Lemay. She is surprised and pleased when he praises her skills both as a medic and a woman, unexpected as they are. She is completely shocked when he proposes, unaware he held her in such high regard even if she considers herself an intelligent and sensible woman.

Her gentle refusal is made and taken with perfect humility. They cannot marry, not because one does not deserve the other, but because Constance was already in love before they met. It is no one's fault, and they will hold each other in the same esteem.

Constance even comforts him a little when they are arrested, fully aware that Rocheforte's dislike of her means he will certainly kill her, if not the doctor.

She barely reacts when she learns the origins of Pauline and Aramis. Nothing but a 'we all come from somewhere' and of course Aramis will help her. Because he's Aramis and she's Constance and what else would they think or do. Nothing will change that.

During the prison riot and escape, her thoughts are on the people who may suffer most, not herself and what she has to lose or the danger she faces. She seeks out the blind wife Annabelle because of her unusual absence. By putting the woman's needs above her own, Constance helps rescue an innocent, frightened woman and indirectly aids in uncovering the plot to rob the king's vault.

She is reluctant to become a soldier's widow or mother of a fatherless child, but Constance's main worry still rests with those women and children and their menfolk. Her troubles are far smaller than theirs.

Fleur mistakes Ninon as the source of her father's change of mind and Constance says nothing as much as she wishes for the credit. She has done battle for Fleur and achieving Fleur's freedom is sufficient reward.

She receives quite a lot of Marchaux's bullying but unlike D'Artagnan, Constance does not let it unsettle her. Marchaux is horrible and abusive and cruel to everyone in Paris. Why should she think herself worse affected than those who do not have musketeers as allies.

She acts as nurse only hours after near death because the cadets need her more now than ever and she cannot be selfish and focus on herself. When she needs a moment she makes sure she is alone. She cannot upset the others with her own grief when they need her to be strong. And as soon as she realises there is a man injured, someone who needs her help, she immediately goes back to work.

She has faltered. There have been times when not humility, but self-consciousness dictated her behaviour such as her initial jealousy of Milady and D'Artagnan's attraction to her. But as her confidence grows so does her humility.

As modest as she is though, Constance is still only human. Sometimes her pride will wage war with her humility, driving it back. It is a constant battle at times. One will gain the upper hand before the other mounts a resurgence.

She is appalled when she is mistaken for a prostitute by D'Artagnan. So furious she threatens him with a blade. But only a short time later she willingly plays the part of one as a distraction. She lowers and compromises herself because it could help save Athos.

It is fortunate that Constance is so humble for the damage she could otherwise do could be great.

A pretty young woman with so many admirers could easily encourage them along for her own gratification. A trail of broken hearts left in her wake.

A beloved ally of an elite regiment of soldiers may influence their decisions to certain actions that she desired, regardless of their use to the people.

A trusted confidante and advisor to the queen might sway Her Majesty to one preferred judgement over another, to favour a more suitable person, a more convenient cause.

But Constance never thinks to use these positions and influences for her own personal advancement or gain. She has far too much humility to not think of others before herself.

**Notes for the Chapter:**

> Two more chapters left.


	28. Diligence: D'Artagnan

**Notes for the Chapter:**

> Thanks again to everyone who has left kudos. Enjoy the penultimate chapter.

* * *

**Diligence** : Being Steadfast in Work. Despite the problems that surface, no matter what stands in their way, one with this virtue will accomplish their goals and stay true to their core beliefs. It is the opposite of Sloth.

"Farming does not equal utopia. It's hard graft." – D'Artagnan, _Commodities_

* * *

D'Artagnan's greatest virtue is his diligence. He goes from naïve, rash farm boy to young but esteemed captain. His brothers see his potential and diligence from the first introduction. They hone it, encourage it and it is partly because of D'Artagnan's diligence that they are so proud of his achievements.

The diligence is hinted at for those he meets. Determination whispers in his skill with a blade. No matter how much natural ability exists one does not impress the greatest soldiers in the king's own regiment without improving that talent with hours of practice.

Persistence screams in his stubbornness to avenge his father's murder. Only the most strong-willed walk into garrisons and duel three elite warriors at once. Or sneak into an enemy camp and fight an entire company while injured.

It is that same diligence and tenaciousness that spur him to continue the mission to rescue General De Foix. He is alone in enemy territory. He does not know if his friends are alive or dead. He has the very basic of plans but D'Artagnan follows through. He finds the De Foixes and he helps ensure the success of the mission.

And that diligence serves him well. It shapes his character and helps him grow. Because while D'Artagnan is talented enough to earn an early recruitment to the musketeers he is not yet skilled enough to be commissioned as one of them.

His skill with a blade is overshadowed by his inexperience of life. When he first arrives in Paris he is naïve and raw. He trusts Milady de Winter despite her ambiguous help and questionable actions. He is slow to listen and quick to anger. LaBarge and Vadim both trick and trap him by using his own recklessness against him. Easily. Vadim even chastises him, after all Vadim told him the trick. D'Artagnan's carelessness and recklessness are so clear that Athos easily predicts him. He questions Porthos', Athos' and Aramis' motives and actions. He underestimates the Bonaires.

His skills show promise but lack the refinement of his experienced friends. He trips and falls chasing down Savoy's attempted assassin and baby Herni's kidnappers. He is slow to reload his pistol as two of Queen Anne's potential killers bear down on him and Porthos.

But D'Artagnan is diligent. He may be a slow learner, but he learns. The lessons of his brothers, his teachers, his mentors stick and D'Artagnan uses them to full effect. He comes to realise Milady's true character and breaks free from her seductive charms. He learns to think as well as feel to defeat LaBarge. He turns Vadim's own tricks against him. He realises that women like Milady and Maria Bonaire and Eleanor Levesque are as great a threat as any man. He comes to trust his friends' true characters no matter what crimes they are accused of.

He becomes as graceful and quick as his brothers in sword and strength. And in detection. His first lesson as a potential musketeer is at the interrogation of Dujon. He doesn't know Porthos and Aramis, doesn't know their plan but he watches, listens and learns. And when the time comes, when he's ready, he leads the interrogation to find Grimaud.

After four years of war D'Artagnan is a seasoned soldier. Still a man of strong-will and quick nature but tempered with wisdom and capability because even during those years D'Artagnan was diligently learning his profession. He admits to his impetuousness, recklessness and foolishness in a previous rescue attempt for Porthos. He has diligently learnt the difference between thinking without acting and waiting to act.

When he is surrounded during an attempt to retrieve diamonds from Bonaire's buyers he surrenders where the younger D'Artagnan would have fought his way out. The older D'Artagnan's choice bought him his life and he could fight when time and opportunity gave him a better chance.

He has learned not to always take people at face-value. The cadet D'Artagnan would have accepted Bastion as the pitiable cripple he claimed to be, the veteran D'Artagnan investigates and discovers he is one of the deserters they fought.

It is these lessons, these well-earned efforts that promote him to the lead instructor of the new cadets on his return to Paris. Because of his diligence. Because he never stopped learning, never stopped training, never stopped practicing. Head over heart. A lesson he initially rebelled against, now one he teaches himself.

But it is not only in his professional life that D'Artagnan exhibits diligence. He practices it in his personal life too. He sticks unyieldingly to his beliefs and his principles no matter the price.

He does not renounce his loyalty to his new brothers despite Milady's numerous attempts. He believes in these men, trusts them, considers them family. And in turn they trust that his diligence has made him ready for his part.

He will not be swayed in his feelings for Constance. He believes in a future for them together. Even when they are separated, even when refusal and ridicule are tossed in his path, D'Artagnan never truly gives up on that dream.

He refuses to compromise his honour when King Louis orders him to execute the slaver who fought for them. D'Artagnan is appalled at the monarch's sentiment of 'mercy'. To kill a man in battle is one thing but to coldly slaughter an unarmed prisoner who was promised leniency, is something he will not relent to regardless who asks.

It is with this same diligence to principles and conscience that he insists on aiding his condemned cousin Espoir. He will not weaken his resolve, not even for Athos. And that strength and steadfastness of character is diligently rewarded. It is when he is painstakingly acting on his promise that D'Artagnan discovers the location of the captured Aramis and Grimaud. And his actions save not only his cousin but his captain and brother.

Because of industriousness D'Artagnan turns from farmer into soldier.

Because of persistence he went from cadet to commissioned.

Because of attentiveness he moved from recruit all the way to captain.

Because of conscientiousness he went from rash impulsive lad to esteemed young captain.

Because of diligence D'Artagnan became the greatest musketeer of them all.

**Notes for the Chapter:**

> Next and last chapter will be Patience.

**Author's Note:**

> Let me know what you think, if you agree or disagree please feel free to (politely) comment. I'm aware alternate interpretations exist, and I love a good, respectful debate.


End file.
